november 2005 Published by the American Recorder Society, Vol. XLVI, No. 5 XLVI, Vol. American Recorder Society, by the Published ©2005 Yamaha Corporation of America www.yamaha.com thoughtful choiceforteachersthatcare. Playful withseriousqualityYamaha isknownfor, Yamaha Recordersarethe effortless controlandanaccuracyofintonationthatprovidesarich,fullsound. range.Theyoffertheidealamountofairresistancefor are easytoplayinevery Yamaha 20SeriesRecordersarespeciallydesignedforbeginningstudentsand Pink colorsaddthatextrafunforstudentsbeginningtheirmusiceducation. students aresuretoenjoy. SourAppleGreen,CottonCandyBlueandBubbleGum The world’s mostdependableandchosenrecordersarealsotheplayfulthat
EDITOR’S ______NOTE ______Volume XLVI, Number 5 November 2005
confess that one of my weaknesses is FEATURES Imass market paperback mysteries, A Posthumous Approach to the Baroque Masters ...... 8 which a local used bookstore sells at eight Sei Soli per Flauto senza Basso, for $5. The thought threshold required to by Matthias Maute read them is minimal enough that one mystery usually equals an evening or It’s Summertime ...... 15 weekend of pleasurable distraction. 4 Matthias Maute rethinks the Role of the Recorder, I usually look for authors I know can by Jen Hoyer write in an interesting style and can devise a clever plot—Stuart Kaminsky, Tony Cultivating the Graces on the Greens...... 18 Hillerman and others writing geographical Developing a Family Program, mysteries, Victorian-set tales from Anne by Rebecca Arkenberg Perry, Ngaio Marsh, Ruth Rendell. The price being right, I may buy an author unfamiliar to me, based on a testimonial 8 DEPARTMENTS from one of the “known” authors or on the Advertiser Index ...... 40 description of the plot or detective charac- ter, such as a recent one (regrettably, not Chapters & Consorts ...... 22 memorable) featuring a music librarian. Classified ...... 40 In a dream, the librarian leaps onto a Department of Amplification ...... 26 stage and asks a fellow in a black suit to stop pounding a keyboard with his fists. Compact Disc Reviews ...... 30 “What’s wrong?” asks the piano pounder. 18 Music Reviews...... 36 “Bach used most of the same notes.” “Yes, but the way you’re putting them President’s Message ...... 3 together doesn’t make sense,” responds Q&A ...... 20 ON THE COVER: the musical sleuth. The librarian’s right, Response ...... 32 as Matthias Maute demonstrates in his Watercolor by Judith Oksner Tidings ...... 4 article explaining the apprenticeship (Courtesy of method he used to compose his Sei Soli in Michael Zumoff) Katrina’s effect on Louisiana ARS members; Howard Schott dies; the style of J.S. Bach (page 8). Jen Hoyer © 2005 corporate news about Dorian and Koch; ARS Business Members further examines how Maute channels Bach to create music in a completely modern style (page 15). A former orchestra conductor, whom I GAIL NICKLESS, Editor knew only briefly, used to call them the Contributing Editors snowcone crowd—people attending an FRANCES BLAKER, Beginners; JOHN H. BURKHALTER III, Book Reviews informal event who would stroll by, per- THOMAS CIRTIN, Compact Disc Reviews; JODY L. MILLER, Education haps listening to the orchestra play while CONSTANCE M. PRIMUS, Music Reviews; CAROLYN PESKIN, Q & A slurping or chomping on something TIMOTHY BROEGE, 20th-Century Performance LISA SCHMIDT, Design Consultant bought at a nearby concession. He didn’t seem to enjoy playing for the snowcone Advisory Board crowd, preferring the more traditional Martha Bixler • Valerie Horst • David Lasocki stage-audience relationship of a concert. Bob Marvin • Thomas Prescott • Catherine Turocy Not all of us have a flare for the informal, Kenneth Wollitz informational performance setting, but Copyright © 2005 American Recorder Society, Inc. Rebecca Arkenberg has encountered Visit AR On-Line at
6 American Recorder PRESIDENT’S MESSAGE ______Podcasting and Recorders?
ack in September 2004, I wrote about e-mail inviting listeners to sample a pod- Hespèrion XXI. That Bblogs—web sites that serve as publicly cast is all it takes to get the ball rolling. podcast is created and available personal journals. Since then, There are directories listing podcasts. narrated by Christo- the internet has been inundated with You can look for specific types of programs pher Gray, who also blogs, and they are becoming increasingly at web sites such as
The New Orleans Early Music Society, in happier times—June 2004, Katrina plays havoc with when Alejandra Lopera (seated, center) offered a workshop. musicians’ lives What a terrible experience all of us from The rest of us—Dave Kemp, Vicky chaos, the looting, the families stranded in New Orleans are going through. Like the Blanchard, Gary Porter, Jeremy Wessel, the Superdome, on the raised interstate rest of the city’s population, we ARS mem- Philip Freemer and I—didn’t know if and on rooftops. It was the end of the bers are scattered to the winds, finding we’d stay in New Orleans or go. After all, world for our city as we knew it! temporary housing with family or friends several hurricanes had passed the area in Jeremy’s e-mail was the first to arrive in until we can go home again—or making the last few years with unnecessary mass my e-mail box, and I was relieved to be in different plans for the future. evacuations. How could we know if this communication with our music group Hurricane Katrina gained strength and was “The Big One?” again. Other ARS members responded so headed straight toward New Orleans, LA, We cut our playing short, wished each that we eventually heard—directly or on Saturday, August 27, just as the New other luck, then went home to watch indirectly—about every member. Orleans and Baton Rouge sister ARS Katrina approach on our TV screens. Everyone got out in time, but some of chapters met for a play-in at our home Sunday morning at 4 a.m.,my husband us have more trauma to face on our return church, St. George’s. While we engrossed and I woke up, threw some clothes and my than others. Philip’s and my houses ourselves in music by Isaac and alto recorder into a bag, locked the house, escaped flooding, but Shauna and David, Frescobaldi, the storm got closer. and left. I’d found a motel room available and Gary, are not so lucky. Our hearts go When we broke for lunch, Bill in Texas via the internet, and we headed out to them, and to others who have terri- Behrmann, Cindy Henk and Jack Waite there, avoiding the interstate and taking ble damage. We have now settled into our (the Baton Rouge contingent) thought Route 90 through the cajun country. The new lives. Some of us are just pacing in they’d better get home before early evac- traffic wasn’t too bad—unlike the parking time, waiting to return to New Orleans, uees started to flood the roads. Shauna lot that was Interstate 10. but others might decide not to return. Roberts and David Mauleg decided they For two days, we watched TV as the One thing is certain: wherever we find needed to batten the hatches of their storm passed slightly east of the city, then ourselves, we’ll be playing music. home and take their pets to higher in horror we learned of the levees being Chris Alderman ground. breached. In more horror, we watched the
8 American Recorder FOCUS ON ARS BUSINESS MEMBERS
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Everything for the Krumhorns, Ogle and Wendy Gillespie recorder editions by Andrew Charlton, musician, including instrument, sheet music, Chinese viols and bows, Chris English viol David Goldstein, and Joel Newman. accessories and gifts. Music lessons and bows, Puchalski vielles, music and accessories. workshops offered, as well as rehearsal and Keys added, necks bent (painless). Personal RHYTHM BAND INSTRUMENTS, INC. performance space for ensembles. service and advice. Instruments gladly sent on Bob Bergin, P.O. Box 126, Fort Worth, TX approval. Very competitive prices. 76101-0126; 800-424-4724 or 817-335-2561; AMERICAN ORFF-SCHULWERK ASSOC. fax 800-784-9401 or 817-332-5654; Cindi Wobig, Executive Director, MAGNAMUSIC DISTRIBUTORS, INC. 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Magnamusic holds one of the Roberto Romeo, 146 West 46th St., New York, annual conference each November, and largest inventories of early and contemporary NY 10036; 212-391-1315; fax 212-840-7224; publishes The Orff Echo magazine and sheet music available in the USA & Canada. [email protected]; Reverberations newsletter quarterly. Free catalogs. Prompt, friendly service. www.robertoswoodwind.com Please refer to our ad for a listing of Representing award winning Italian recorder BARTRAM RECORDERS manufacturer/publisher information. maker Pietro Sopranzi including historical James F. Bartram, 605 NE 6th St., 10% Discount on purchases made by reproductions of Bressan, Boekhout, Coupeville, WA 98239; 360-678-9272; ARS Members. Van Eyck and Ganassi. Specialize in [email protected]; repair and restoration of recorders. www.bartramrecorders.com MOECK MUSIKINSTRUMENTE Recorders revoiced, renewed and repaired. UND VERLAG E.K. SCHOTT & CO., LTD. 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We offer authorized repair service Especially for recorders, Frances Blaker’s INSTRUMENT CO., LTD. for Moeck, Zen-On, Coolsma, Aura, Mollen- Recorder Player’s Companion, contemporary Takamura Toyama, 41, Oharacho, Itabashi-ku, hauer, and other makers of quality instruments works by Goldstein, Seibert and others, Tokyo 174, Japan; 81-3-3960-8305 world-wide. baroque polychoral motets by Bassano and (U.S. agent: Rhythm Band Instruments, Inc.) Gabrieli, and madrigal books by Gibbons and COURTLY MUSIC UNLIMITED, INC. Monteverdi. Please request a free catalogue for VON HUENE WORKSHOP/ Richard and Elaine Henzler, 3785 Main Street, a complete list of our editions. EARLY MUSIC SHOP OF NEW ENGLAND Warrensburg, NY 12885-1665; 800-274-2443; Nikolaus von Huene, 65 Boylston St., 518-623-2869; fax 518-623-286; PRESCOTT WORKSHOP Brookline, MA 02445-7694; 617-277-8690; [email protected]; Thomas M. & Barbara C. 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November 2005 9 Bits & Pieces
A benefit concert ended L’Ensemble Por- Healing Muses, a non-profit organi- EMA web site,
10 American Recorder Wigmore Hall under new Leader In a recent surprise announcement, Paul Summer Suzuki Recorder Teacher Training In June, I traveled to San José, CA, to attend the 2005 Suzuki Method™ Recorder (SMR) Kildea resigned as artistic director of Institute in Mountain View, to take the next step in my Suzuki Teacher Training: unit 5. Wigmore Hall in London. After serving in This year’s short term teacher training course was the first opportunity to take unit 5 the post for two years, Kildea left to devote and register it with the Suzuki Association of the Americas (SAA) because, after years of more time to freelance conducting. hard work, the recorder repertoire committee finalized the order and selection of pieces Current executive director John for volumes 5, 6, 7 and 8 of the SMR School in early 2005. In April, performances of Gilhooly was confirmed as overall those pieces by Marion Verbruggen, recorders, Arthur Haas, harpsichord, and Mary director, combining artistic administra- Springfels, viola da gamba, were recorded. Katherine White, the originator of the tion with his existing role. SMR School, along with students and other teachers, are eagerly awaiting the release of Sir John Tusa, chair of the Wigmore the CDs and books for volumes 5-8 by Alfred Publishing Co Inc. (successor to Warner board, commented, “John was Bros. Publications, Inc., as the sole publisher of Suzuki materials outside Japan). initially appointed in 2000 to help us Volume 5 challenged me and opened up new recorder repertoire for my studies: realise our considerable artistic and diminutions by Van Eyck, a canzona by Frescobaldi, a movement of Telemann’s A minor administrative ambitions. We needed two suite, a movement of a Corelli sonata and French Baroque music by Pierre Danican Phili- directors, working as joint leaders, to see dor and Hotteterre. Some techniques for review and expansion in this unit include dou- us through the pressures of managing the ble-tonguing and flattement, as well as how to develop and teach the elusive “good major developmental activities of the last taste” in applying ornamentation, which has been taught in units since unit 2. five years, but given the recent completion During classes, we spent some time listening to a first draft of the volume 5 CD of these projects, now is the best time to recording, focusing in turn on phrasing, articulation and ornamentation. All teacher revert to a single leader. trainees were well aware that Verbruggen’s interpretation was one of many possibilities, “This is a key appointment in the and we exchanged ideas about how to teach these pieces to our students so they might international music world,” said William find their own satisfactory expressions. I liked the challenge, because it was similar to a Lyne, former Wigmore director of 37 years treasure hunt: going through the movements of the Hotteterre suite, exploring the who is credited with building its inter- affect, applying the ornamentation symbols, and finding strategies for successfully national reputation. “Nobody has done teaching them. more to secure the future of Wigmore Hall Institute co-directors Katherine White and Sally Terris provided teacher trainees, in recent years and nobody is better students and parents with a high-quality workshop format for observation of master suited to lead us forward again.” classes, group classes and classroom time. The recently-built facilities of the Communi- While executive director, Gilhooly ty School of Music and Arts at Finn Center (CSMA) accommodated us well, and the size headed the organization and staff, as well and acoustics of CSMA’s Tateuchi Concert Hall were well suited for recorder perform- as a capital project and fund-raising cam- ances and master classes. With participants coming from near and far in California, paign. He also worked jointly on overall Minnesota, Iowa and Florida, as well as Canada, Peru and Iceland, we all felt part of a artistic policy with both Kildea and Lyne, small but international community. building strong connections with artists The unique make-up of the workshop—both its international flavor and its very and agents. Despite a complex refurbish- young participants, whose ages were in single digits—was mentioned in a feature ment, Gilhooly’s strategies returned a article run in the Mountain View section of local newspaper, the Mercury News. surplus for four consecutive years. Many accomplished local recorder players came as volunteers, bravely standing on Built in 1901 by German piano firm stage, taking master classes in front of an audience, and playing pieces of the unit 5 Bechstein, Wigmore Hall is regarded as repertoire, and thus letting us observe the teaching in action. one of the world’s great recital halls, The week-long institute concluded with a final concert featuring all participants attracting leading classical musicians and playing selections of the Suzuki repertoire and sharing personal favorites of the solo and often setting standards for international ensemble recorder literature. Thanks to George Greenwood, who brought his great chamber music and song. bass and contra bass recorders, we were treated to a low-consort quartet (TB gB cB) Carl Dolmetsch played a long line of of Renaissance pieces. Our accompanists were Alla Dobrish, harpsichord, Margaret Wigmore Hall recitals, starting with the Cohen, viola da gamba, and Mihail Iliev, bassoon. first on February 1, 1939, and a second New friendships were made, and old ones refreshed. Students, parents, volunteer later in 1939. A third was played in 1941, recorder players, and teachers were and then an unbroken series of 42 from inspired, and all hope to come back 1948 to 1989—on each of which Dol- to another SMR Institute next year. metsch played a new work for recorder. Irmi Miller, Ames, IA The celebrated acoustics have attract- ed other great artists including Pablo Teacher trainees for unit 2 Sarasate, Percy Grainger, Artur Rubin- of the Suzuki Method™ Recorder stein, Benjamin Britten, Paul Hindemith, School with teacher trainer Francis Poulenc, Camille Saint-Saëns, Katherine White (left): (l to r) Sergei Prokofiev and Andrés Segovia. Tamar Sluszny (Israel), Helga Recently, the list has included leading Jondottir (Iceland), Kathleen artists such as Cecilia Bartoli, Anne Sofie Schoen (AB, Canada); not shown von Otter, Joshua Bell, Trevor Pinnock and were Claire Heinzelman, Nancy The English Concert, and Robert King Koren and Sally Terris (all of CA). and The King’s Consort.
November 2005 11 A Posthumous Apprenticeship to the Baroque Masters: Sei Soli per Flauto senza Basso by Matthias Maute recorder players know, composers Ground Rules and My Solutions ASin the first half of the 18th century The absence during the early 18th centu- The author is recognized as one of the wrote quite a number of solo pieces for ry of the Romantic term “genius” can be foremost recorder players of his generation, melodic instruments such as transverse taken as an invitation to take on the chal- and has also earned an international flute, violin or violoncello. Examples in- lenge of composing in the style of our reputation for his talents as a traverso clude Georg Philipp Telemann’s solo fan- beloved Baroque composer. Therefore I player and composer. In 1990, tasias for violin and flute, and J.S. Bach’s submitted the process of composing the after completing his studies in Freiburg and solo flute partita, solo ’cello suites and Sei Sei Soli to strict Baroque criteria. Utrecht, he won First Prize in the soloist Soli per Violino senza Basso. But between The number of pieces corresponds to category at the prestigious Musica Antiqua 1700 and 1750, they “forgot” to write 1 Bach’s suites for ’cello and his Sei Soli Competition in Bruges, Belgium. substantial compositions for solo recorder for violin, both of which include six Also in 1990, his CD Les Barricades, senza accompagnato. I composed the three pieces. which includes some of his own works, was sonatas and three suites for solo alto The idea of alternating sonatas and released. Four years later, he won the Dutch recorder in Sei Soli per Flauto in the style of 2 suites is taken from Bach’s Sei Soli Impresariat Chamber Music Competition the 18th century as a way to fill that cycle for violin solo. with Trio Passagio. Maute currently tours unfortunate gap in the recorder repertoire. The order of keys also reflects Bach’s regularly in the U.S., Canada and Europe I began by apprenticing myself, in a ideas. The hexachord of the six differ- 3 with both Ensemble Caprice and REBEL. In manner of speaking, to the original practi- ent keys—G minor, E major, F major, addition to his work in chamber music, he is tioners—composers like J.S. and C.P. E. G minor, A minor and B major—results in first flautist of the Baroque Trinity Consort Bach, Arcangelo Corelli and G. P. Tele- an inherently logical plan for the Sei Soli Orchestra in Portland, OR, and the REBEL mann. It wasn’t easy—but my fascination per Flauto. Baroque Orchestra in New York City, NY. with the Baroque style of composing kept Despite the senza accompagnato idea, In June, he returned to the Boston Early me going and helped me learn the 4 an imaginary bass line is always Music Festival to perform as a soloist Baroque language from the masters them- assumed to be hidden under the flute line. with the BEMF Baroque orchestra. selves. My decision to mimic the masters As we know, to Baroque composers the He was a featured recitalist at the first was very much in the spirit of the Baroque harmonic principle of the basso continuo ARS Festival & Conference in July. era. In Bach’s day, the standard learning was the starting point for composition. procedure consisted of imitating the The beginning of the sarabande from Maute’s compositions—published by teacher, who was considered a master. Bach’s Partita for flute solo could have the Amadeus, Carus, Moeck, Mieroprint and C.P. E. Bach did just that when he used following harmonic scheme, even though Ascolta—hold an important place in the J.S.Bach’s flute sonata in E major as a the bass line could be quite different from world of contemporary recorder music and model. To a surprising degree, the the one proposed here. A similar sara- are frequently heard at concerts in Europe structure of C.P.E.’s G minor flute sonata bande in my collection, Sei Soli per Flauto, and North America.The collection corresponds to the father’s example. could also be provided with a bass line, Sei Soli per Flauto senza Basso is Thus imitation helped composers to further stressing the similarities between available from Amadeus Verlag BP 812. attain a high level of craftsmanship, but those two pieces (see example 1). Maute has also published a solo collection did not exclude creativity. To all appear- written in the style of Telemann’s ances, C.P. E. Bach’s piece was written by fantasias from around 1730: a composer who, despite his youth, could My decision Six Fantasien for soprano (or tenor) already satisfy his father’s high demands. recorder, available from Carus Verlag. Writing Baroque music for a solo to mimic instrument presents the composer with a This article appeared in a slightly number of problems. It is an eccentric the masters different form in Windkanal, choice—today, as well as in the 1700s— January 2001. Maute may be since it renounces a basso continuo line was very much contacted as follows: 4841 rue Garnier, even in the midst of the basso continuo in the spirit of Montréal, Quebec H2J 3S8 Canada ; era. Both musically and technically, e-mail
" ¡ Ì ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ 6—6 4+ 6\ 5 66 5 5 Example 1b. Maute: Suite III in A Minor, opening to sarabande, with an imaginary bass line added. ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡
" ¡ K ¡ ¡ ¡ ¡ ¡ Ì ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ 6 6 6 6 4 3 4+ 6\ 4 6 — 6 4 5 2 2+ 5
In the Baroque era, a chaconne was 6 often used as the finishing touch for a big cycle. Bach’s famous chaconne in D minor for solo violin concludes his second Partita, and Corelli’s La Follia is the famous last piece of his Op. V sonatas. Concluding Sei Soli per Flauto with a Without exception, chaconne seemed appropriate. Since Bach used a very regular 7 structure in his solo ’cello suites, I the number of bars in followed his example. The suites in Sei soli per Flauto consist of a prelude followed Bach’s dance movements by the four standard dance movements of the suite—allemande, courante, sara- are even, usually a bande, gigue. In all cases, one more dance movement completes the set. Without exception, the number of multiple of four. 8 bars in Bach’s dance movements are even, usually a multiple of four: the first or second half of a dance movement can contain 12 or 16 bars, but never 17 or 21. I have strictly followed this principle.
Unlike many of his col- Ex. 2a. J.S. Bach: Sonata in A Minor for solo violin, final movement (allegro). 5 leagues, Bach’s sequences varied form of sequence usually employed only three ¡ ¡¡ ¡ ¡ ¡ ¡ transposed repetitions of one ¡O¡ O¡ ¡ ¡¡ ¡ ¡ ¡ O¡ ¡ motive, in order to keep the E ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ interest of the listener alive. If ¡ ¡ ¡ ¡ he wanted to extend a sequence, he changed the Ex. 2b. Maute: Suite I in F Major, first movement (prelude), mm.23-25. motive in a way that made it ¡ varied form of sequence sound quite different (see ¡ ¡ ¡ ¡ ¡ ¡O¡ ¡ ¡ ¡ ¡ ¡¡O¡ example 2a). I imposed this ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ same limitation on various D ¡ ¡¡ sequences in my six solos for alto recorder (see example 2b).
November 2005 13 The one-voice fugato is a standard Another comparison (example 4) A closer look at two courantes 9 procedure in the Sei Soli per Flauto, as 10 clearly shows how Baroque 11 (see example 5) reveals striking it was in the Baroque era. This type of models inspired my own compositions. similarity in rhythmic structure, as well as writing is familiar to us from Telemann’s In each case, the pedal point at the in motives. The link between model and fantasias for flute (see example 3a, and beginning on the lowest note creates a imitation couldn’t be clearer than in these compare it to 3b: in both, the opening two-part feeling, which comes closer to two examples. theme is embedded in the second the intended orchestral context of the By using this method of applying entrance of the theme, in an imitation of overture. The pedal point further gives a Bach’s musical ideas, we might say that two-part writing); or from Bach’s Suite in stronger impact to the dissonances the past is not yet finished and still has an C Minor for solo ’cello, especially in the (especially see bar 5 of example 4b). impact on our modern life. fast 3/8 section of its first movement. The division of the solo into bass line ... we might say that the ... and still has an impact and upper part is also a striking feature of the Sei Soli per Flauto (see example 3c). past is not yet finished ... on our modern life. Example 3a. Telemann: Fantasia VII in D Major, first movement (alla francese), mm.15-26, embedded theme. 15 ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ D ¡
21 ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ D ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡
Example 3b. Maute: Sonata I in D Minor, second movement (allegro), embedded theme.
Ex. 3c. Maute: Sonata I in D Minor, beginning of the first movement (a tempo giusto), with bass notes indicated.
14 American Recorder Example 4a. Telemann: + + ¡ ¡ Fantasia VII in D Major, ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ beginning of first movement E ¡ ¡ (alla francese), with bass ¡ ¡ ¡ ¡ ¡ notes indicated.
Example 4b. Maute: Suite I in F Major, beginning of first movement (prelude), with bass notes indicated.
Example 5a. Bach: ’Cello Suite I in G Major, courante. ¡ " ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡¡¡ , ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ 5 ¡¡¡¡¡¡¡¡ ¡¡¡ ¡¡¡ ¡¡¡ ¡¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡¡¡ " ¡ ¡ ¡¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡¡¡ ¡ ¡ « 10 ¡ ¡ ¡ ¡¡ ¡ ¡ " ¡¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡
14 ¡ ¡ ¡ ¡ ¡ ¡ ¡« ¡¡¡¡¡ " ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡¡ ¡¡¡ ¡¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡¡ ¡ ¶ ¡ ¡ Ì Example 5b. Maute: Suite II in E Major, courante.
November 2005 15 Sei Soli At a Glance: Notes from the Composer
Suite I in F Major The perpetuum mobile of the last movement, a gigue, is based on a one-part counterpoint that integrates two different parts into one, so as to enhance the virtuosity.
Sonata I in D minor The first movement (A tempo giusto) serves both as a prelude and as a dance Example 6. Maute: Sonata I in D Minor, movement or courante. This double function is well known by flute players, opening theme to second movement (allegro). since Bach’s allemande in the Partita for Flute serves both functions as well. Dissonance The absence of a harmonic accompaniment causes interesting dissonances in the theme of the second movement (allegro). ¡ ¡ ¡ Some sections of this movement (see example 7) imitate harpsichord arpeg- DE ¡ gios. Recorder players will not be surprised to find that the recorder turns out to be the ideal instrument for these feats of virtuosity. Unfortunately, Baroque composers didn’t use this effect very often in their original compositions for recorder. Example 7. Maute: Sonata I in D Minor, second movement (allegro), mm.9-14.
Suite II in E Major In the prelude, two different rhythmic levels are juxtaposed—as shown in example 8a on the one hand, and in example 8b on the other hand. The ostinato rhythm within each section makes it possible to introduce keys that are harmonically distant from the home key of E major. The same procedure can be found in Bach’s prelude to the sixth suite for solo violoncello. Example 8a. Maute: Suite II in E Major, beginning of first movement (prelude: non troppo vivace).
Example 8b. Maute: Suite II in E Major, first movement (prelude: non troppo vivace), mm.25-33.
16 American Recorder Example 9a. Maute: Sonate II in G Minor, chaconne theme at beginning of third movement (andante e lamentabile). Sonate II in G Minor The sorrowful third movement, a lamentabile, is based on a chromatically descending bass line that is familiar to us Example 9b. Maute: Sonate II in G Minor, third movement (andante e lamentabile), mm.19-25. from various chaconnes of that time. This ostinato line seems to invite sighing dissonances and particular harmonic progressions.
Suite III in A Minor The courante corresponds to the old French type, with its characteristic alternations between the 3/2 and 3/4 meters. Bach used this already outdated type of courante only once, in the first of his six English Suites. Usually Bach preferred the more up-to-date Italian corrente, with its sparkling virtuosity—something he demonstrates so well in the second movement of his famous Partita in A Minor for solo flute. The sarabande of Suite III tries to shake off the restrictions of the dance form and favors long expressive melody lines. Bach’s extraordinary sarabande from his flute partita served as example for this movement (see example 1 earlier in this article). Sonata III in B Major The first movement, an adagio, bears all the charac- Example 10. Maute: Sonata III in B Major, first movement (adagio), m.39. teristics of a concerto movement. The theme in bars 1-4, which returns in bars 14-15, 23-24 and 41-44, alternates with three solo episodes that create increasing tension. Suspensions and chromatic passages lead toward a long sequence in triplets, which is abruptly cut off by a sudden flourish.
Recorder players will not be surprised to find that the recorder turns out to be the ideal instrument for these feats of virtuosity.
November 2005 17 The next movement of Sonata III, an allegro, has a chromatic fugue theme that incorporates modulations into remote keys.
Example 11. Maute: Sonata III in B Major, second movement (allegro), mm.15-21.
The third move- Example 12. Maute: Sonata III in B Major, beginning of fourth movement (a tempo giusto), ment is an instru- with imaginary chaconne bass line added. mental recitativo, ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ which should be ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ interpreted rather D ¡ ¡ ¡ ¡ ¡ freely, always follow- ¡ ing the tension of the harmonic develop- ment. The following a tempo giusto " ¶ Ì ¡ ¡ movement is nothing D Ì ¡ ¡ ¡ Ì ¡ else but a courante in rondo form—but 6 7 676 one that is based on the descending tetrachord of the chaconne bass. The last movement of the collection Example 13a. Michel de la Barre: Sonata “L’Inconnue,” Sei Soli per Flauto is an homage to a chaconne, gorgeous example of a Baroque D ¡ ¡ ¡ ¡ ¡ ¡ transposed ¡ ¡ chaconne. The chord progression D from original , indicated below shows the key of G major transposed version from the beginning to B major. of the chaconne taken from Michel ¡ ¡ de la Barre’s sonata “L’Inconnue.” " D ¡ Ì ¡ Example 13 compares both chaconnes. D , The cycle of the collection Sei Soli per 6 Flauto senza Basso is complete with this chaconne. Example 13b.Maute: Sonata III in B Major, beginning of fifth movement (ciacona), with imaginary chaconne bass line added. The cycle of ¡ ¡ ¡ ¡ Ì ¡ ¡ ¡ ¡ D ¡ ¡ the collection D ¡ ¡ Sei Soli per Flauto senza Basso Ì ¡ is complete with " DD Ì Ì this chaconne. 6
18 American Recorder It’s Summertime: Matthias Maute rethinks the Role of the Recorder ach time I place a piece of modern It’s Summertime. Each of the first two by Jen Hoyer E recorder music on my music stand, movements juxtaposes contrasting ele- a small shiver goes down my spine. I find ments of style and technique to highlight it very exciting that huge amounts of new the recorder’s capabilities. The third repertoire are being created for an movement reinforces the composer’s vi- instrument that lay practically dormant sion for the recorder through use of a pop- for several centuries. ular melody by well-known composer As recorder players in the 21st century, George Gershwin. presented with both old and new music, The first movement, entitled “Don’t we are constantly bombarded with some You Cry,” has a laid back vibe. Instructions important questions. Is our instrument are given for the eighth notes to be played only suitable for Baroque music? Does it unequally, giving it a jazzy feeling. In have the ability to keep up with modern “Don’t You Cry,” Maute succeeds in instruments in the fields of technique pulling together unexpected styles. and expression? Should recorder players A written “postscript” for this move- shy away from 20th- or 21st-century ment notes the composer’s use of the compositions and stick to the tried-and- theme from the sarabande in J.S. Bach’s true repertoire of anything pre-19th Flute Sonata in A minor, BWV 1013. century? The first three musical examples (see In order to demonstrate that the example 1) show Maute’s unadorned and recorder is capable of playing music of all embellished versions of the movement’s Jen Hoyer currently studies eras, from Baroque to modern, composer theme, followed by the opening notes of recorder with Rachel Jean at Matthias Maute gives the instrument a the Bach sonata. The King’s University College in chance to do everything in the trilogy Edmonton, AB. She has been playing the recorder for Example 1a. Maute, as long as she can remember, It’s Summertime, ¡ ¡ K and enjoys being an active member I. “Don’t You Cry,” E Ì DX¡ of the Edmonton Recorder Society. opening theme, , Jen loves to meet people who share mm. 1-2. her enthusiasm for new music of all kinds, and welcomes Example 1b. Maute, It’s Summertime, I. “Don’t You Cry,” embellished theme, feedback on this article. mm. 48-49. She can be reached by e-mail at 3 ______
November 2005 19 As an instrument, the recorder is This type of two-voice writing is typical Additionally, the entire typically associated with music of the of Telemann (see Maute’s article in this Baroque era, and no one composer exem- issue where he gives examples of this com- concept of the sarabande plifies the Baroque like Bach. Maute’s positional technique), and can also be theme is not identical to Bach’s, but simi- found in other Baroque music. A high larities are evident in the melodic contour level of technique is required to control being tailored to fit swing and general idea of the two themes. The the breath pressure needed to alternate themes also share a sweet, sentimental between octaves at this speed, not to rhythm reflects the ability quality. mention the task of switching octaves The main difference between the two without the octave key found on many compositions is that, in the 18th century, modern instruments. of the recorder to adapt the sarabande was a stately dance, while While asking for this type of playing, Maute directs the performer to swing the however, Maute also demands several to play new music ... eighth notes of his piece. Despite this, skills more prevalent in modern music. In Bach’s ideas fit easily into the new role this movement, he repeatedly calls for they are given, showing how well various glissandi and sputato—techniques that are styles and eras can meld. Maute breaks a little more unconventional on the down the stereotype that Baroque and recorder, and certainly not typical of modern styles are entirely different, as Baroque music for recorder. Glissandi well as the idea that the recorder is only require incredible breath control, while capable of playing “old” music. sputato tonguing requires a great deal of Additionally, the entire concept of the sensitivity to each individual instrument sarabande being tailored to fit swing in order to be effective on recorder. rhythm reflects the ability of the recorder This idea of using new techniques is to adapt to play new music drawn from a continued in the final movement, where huge palette of musical ideas. the performer is instructed to sing and The ability to play different styles of play simultaneously. By including these music demands different types of elements, Maute shows that, while the technique. The recorder is often accused recorder may not be capable of all the of not being able to keep up with the high techniques we have come to expect from level of technique of which modern modern instruments, it can still produce instruments are capable. The second different effects and colors by various movement of this piece demonstrates the means. varied technical abilities of the recorder. The third movement, entitled “It’s “The Livin’ is easy” is more upbeat than Summertime” (also the title of the entire the other parts of the trilogy. It is meant to work), is basically an arrangement of be played in strict time—that is, the Gershwin’s popular tune of the same eighth notes are equal. name. Maute explains in his notes for this Maute begins his written movement that “The Livin’ is easy” is “postscript” by noting that this entire meant to imitate G. P. Telemann’s solo composition “is an homage to George fantasias for flute (see example 2 below). Gershwin.” He highlights this in the last Maute echoes Telemann’s fantasia style movement by using one of Gershwin’s because he wants to highlight the most recognizable melodies (see technique demanded by its two-part example 3). solo writing.
Example 2a. Maute, It’s Summertime, II. “The Livin’ is easy,” example of two-part writing, mm. 22-24. ¡ ¡ D¡ ¡ D¡ O¡ ¡ ¡ ¡ ¡ ¡ D¡ O¡ ¡ E ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡
¡ ¡ ¡ Example 2b. Telemann, ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ Fantasie in D Minor, DE ¡ ¡ ¡ vivace, two-part writing ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ shown in mm. 11-12
20 American Recorder Example 3. Maute, It’s Summertime, III. “It’s Summertime,” opening theme. K + D ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ K D ¶ , , ¡ ¡ ¡¡¡ ¡
If Maute’s piece is about showing how the composer’s view that the recorder is As debate continues, among recorder the recorder is capable of playing both able to cross many boundaries, just as players and non-recorder players alike, “old” and “new” techniques and styles, he Gershwin sought to tear down dividing concerning the place of the recorder in could not have chosen a better composer’s lines between various genres of music. 21st-century music, Maute has offered spirit to channel. Gershwin is often recog- It’s Summertime as his contribution to the nized for working to meld together classi- discussion. The Summertime trilogy shows cal music with popular music and jazz. The final movement how the recorder is capable of performing He cannot be called strictly a classical both “old” and “new” styles, and how it musician, nor would any jazz artist give pays tribute to Gershwin has a considerable range of technique for him credit for being a “real” jazz in order to reinforce playing a variety of types of music. “Old” composer. However, Gershwin does not and “new” music and instruments need seem to have minded this; rather, he tried the composer’s view not be separated; the recorder should hard to bring the two musical genres not be labeled a “Baroque” instrument, together and to destroy dividing lines that the recorder is able nor does it have to be revamped into between them. something entirely modern in order to Maute’s entire vision for the recorder, to cross many boundaries, be relevant for “new” musical styles. as exemplified in this composition, is As in Gershwin’s music, there does not wrapped up in a similar philosophy. In the just as Gershwin sought have to be an either/or categorization: the first two movements of his trilogy for alto to tear down dividing recorder has its place in the performance recorder, he composes music to display of many genres of music. the recorder’s wide range of abilities that lines between various Don’t be afraid to open up the score of enable it to play various styles from a modern composition; you’ll be amazed different eras. The final movement pays genres of music. at what you and your instrument can do. tribute to Gershwin in order to reinforce
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November 2005 21 Cultivating the Graces on the Greens by Rebecca Arkenberg amily programs are everywhere— First, try to attend as many “family group that does not expect to have their museums, libraries, festivals, historic programs” as you can, watching the per- recorders picked up and played. It is Fhouses, zoos—and, while they are not a formers and the audience for strategies better that you be placed away from the new concept in entertainment or educa- and responses. The parents may seem to hands-on areas. tion, they are changing. Once children be enjoying the program, but the children Also you can physically and psycholog- were shepherded off to an age-appropriate are restless or tugging on their parents ically order your space so that it says, “Stay activity or program; the parents either to leave. Conversely, the children are rapt- and listen.” One way is to position the stood by to observe, or were offered their ly watching the performance, but the par- group against a wall or barrier, set out own activity in the form of a concert or ents are rolling their eyes, talking on their chairs or a rug for an audience seating tour. The current trend is more towards cell phones, or visiting with each other. area, or just mark off a space with masking keeping families together, and this Of course, our group has found that it’s tape for “stage” and “audience.” Greet the involves using strategies that meet the impossible to reach everyone all the time, groups who enter your area and explain needs of a variety of age groups. but you will find strategies to adapt to your what you will be doing. This helps the Think of the quintessential children’s own repertoire, and ideas for program families make a choice: they may stay, concert offering of Sergei Prokofiev’s Peter topics: “Animals in Music” for a zoo move to a more active area, come back and the Wolf, which has always appealed to program, historical music from the time later, or help their children make a both young and old. It has a story to which period represented by the history transition from one activity to the next. children respond, and the music is museum, “The Science of Music” for a This kind of show could go on all day, interesting and fun. The parents can enjoy science museum, special programs in and depending on the fee that you have the composition, reminisce about the first libraries for Play-the-Recorder Month. negotiated, you may wish to present the time they were taken to hear it, and they We’ve learned to be prepared for two same 20- or 30-minute “show” twice or can watch their own children’s enjoyment basic scenarios. The first is the “concert,” three times, or build in time for breaks. as well. A good family program inspires where you have a seated audience for a set Schedule your down times to coincide this shared experience, stimulates period of time. Family concerts are adapt- with another activity’s presentation time, discussion between the generations, and ed for attention spans and may be only and never leave your booth or station models strategies for introducing children 30-45 minutes long. The chosen music is unattended. to classical music—but also art, history, shorter, and the performers will often I like to prepare questions in advance, literature and science, just as examples. interact with the audience, explaining including ones that will give a little If your recorder ensemble plays con- instruments, music, and even inviting the information about the audience. “How certs for adults or programs for children in audience to sing along, or to come forward many of you listen to music?” “What is schools, you already know what works to dance or play a percussion instrument. your favorite song?” “Who is your favorite with your specific audience. What is This kind of family program is the easiest musical artist?” “What kind of music do involved in developing a family program? to design and control because the audi- you like?” “Do you play a musical ence expects to be seated and entertained. instrument?” “How many of you have The other scenario is along the lines of ever played the recorder?” You may meet Once children were a “greens show” or arts festival—a booth parents who are professional musicians! shepherded off to an or station where families are free to come Design questions that make people and listen for as long as they wish. These think about music. Most questions that age-appropriate activity or performances are usually even more can be answered with a “yes” or “no” program; the parents either interactive, because the audience must take you nowhere; use them sparingly. be “courted.” Questions with one right answer, and stood by to observe, or were In both cases, there may be other many wrong answers, encourage some activities going on (crafts, art activities, parents to “help” their children get the offered their own activity tours, petting zoos, magicians, etc.) that correct answer—and, all of a sudden, you in the form of a concert compete with your program. have a competition. If there are other activities, it helps to In general, ask questions that elicit a or tour. The current trend know what these are and what your variety of reasonably correct responses, is more towards keeping location will be in relation to other per- then focus on the answer that you want to formers, artisans, messy or noisy areas explore. For example, you could ask, families together, and this (finger painting, for example, or a rock “Why do we have so many recorders involves using strategies band!). Talk to the organizer(s) of the among us?” Answers might include: event and check out the venue in advance. “Because you like the recorder.” that meet the needs of a If the other planned activities are all Acknowledge this, and call on another “hands-on,” it becomes very confusing for person. “Because they are pretty.” Yes, they variety of age groups. the families to suddenly come upon a are! Next? “My cat just had kittens.” It’s a
22 American Recorder crumhorns, hurdy-gurdy, harp, psaltery or other instruments, take time to demon- strate and explain them. Be interactive. For a march or a dance tune, demonstrate how you would move to the beat. If you have space, teach your audience a dance step. Young children may be more likely to participate if their parents dance with them; and, if a reluctant dad sees another dad having fun helping his kids learn a pavane or galliard The author of this article (playing Irish flute, center) has organized many step, he may be inspired to give it a try. programs with her family at “greens shows.” John Arkenberg (guitar) and Take advantage of the natural competitive- their son Gordon Arkenberg (violin) are part of the ensemble playing for the ness of families. harvest festival on the grounds of the Captain David Judson House. Not shown If you’ve decided to play a fugue, first is older son Jeff, playing recorder. (Photo by Rudy Mastroianni) lead your audience in a round to get them listening for the musical entries as they family program, so don’t be surprised by a chosen to spotlight the playing skills happen. If you have programmed a work child sharing this information. Next? of your group, and you should be with an interesting rhythm, have your “Because they make different sounds.” prepared to deliver an excellent and audience learn the pattern by clapping. This is the answer you have been seeking. professional program. The adults will Invest in (or construct) some sturdy, You might then ask,“What kinds of appreciate the high quality of the inexpensive and simple percussion instru- different sounds?” “Loud and soft?” performance, and you won’t get pigeon- ments that can be distributed and played Maybe. “Fast and slow?” Maybe. holed as “children’s” entertainment. to accompany one of your selections. If “Some of them play the high notes you don’t have instruments for everyone, and others play the low notes.” You could stop the music at the ends of phrases and respond with, “Great! Which ones play There is a fallacy that, ask that the instruments be passed to high and which play low? We have big someone else. You can involve the parents recorders, small recorders, and sizes in because family programs are by asking them to supervise this so that between, just like families. Let’s do an everyone gets a turn. Be sure to collect experiment.” casual and involve children, these instruments at the end of your You could have the fathers/ performance. grandfathers repeat a phrase in unison— the musicians don’t need After your concert, or as you transition “Recorders are cool,” or something from one group to another, thank your chosen in advance. Then have the to be as well-prepared as they audience and be prepared for questions. youngest children repeat the phrase. Ask would be for formal concerts. It might be a good idea to assign people the group to tell you who had the higher from your group to cover different topics. voices and who had the lower. From this For example, someone who is a teacher experiment, can the audience guess which Along these lines, I recommend that, can answer questions from parents like, recorders are going to play low notes and unless you are really good at acting or “Is it too early (or late) for my child to start which are going to play high notes? comedy, you shouldn’t try to emulate playing an instrument?” or “How can I This leads into a demonstration that children’s television programming. introduce my toddler to music?” Someone will work whether you have eight Silliness and fast-paced action are difficult else can answer questions about the recorders or three. You can make the to sustain; if you can’t carry it off, it will instruments, such as, “Where did you get demonstration more interesting by make your audience uncomfortable. these recorders?” or “I have an old playing a round, so that each voice is Humor should occur naturally (and if you recorder at home ….” Always be prepared heard separately and together. use good questioning strategies, it will). with business cards. You may want to direct your questions I also don’t recommend using instru- Every time you work with families, you to a particular age group. For example, ask ments as weapons or props—anything will learn as much from them as they will only the smallest children to help you that might suggest that your young learn from you. Your ultimate reward is count how many fingers you have and audience members try the same. If they hearing an adult and child share what they how many holes are on the recorder. see you treating your instruments with have learned, with each other and with Older children in music classes can care, they will realize that you value them. you. Then you know you have been respond to questions about melody, Choose your repertoire wisely, then successful in reaching out to those rhythm and harmony. think of strategies that will involve your different age groups. There is a fallacy that, because family audience. Ask them to listen for sound programs are casual and involve children, effects (the rat-a-tat of weapons in a battle the musicians don’t need to be as pavane, a cuckoo’s call, an echo), or for a The well-prepared as they would be for recurring phrase or motive, a minor/major Recorder Magazine formal concerts—but remember that you shift, a tempo or time signature change. we invite you to visit the site are also trying to engage the adults in Play a short phrase to illustrate exactly www.recordermail.demon.co.uk your audience. The music should be what they should listen for. If you include
November 2005 23 Q & A ______Arranging music for recorders
uestion: I recently heard a performance 3. Is the melodic interest mainly in the right was renewed, the piece was protect- Qof Scottish Dances, a 20th-century top line, with repeated accompanying ed for a total of 56 years. work by Peter Maxwell Davies based on figures in the other lines? The Copyright Act of 1909 was super- 16th-century dances, and am also familiar If so, the piece will be boring for players seded by a new federal law, which went with Ottorino Respighi’s three suites entitled of lines other than the top line. The piece into effect in1978 and is still in effect Ancient Airs and Dances for Lute. All of will be more successful if the arranger can today with a number of revisions. Accord- those compositions are very melodious, and assign the melody to the lower voices part ing to the current U.S. copyright law, I think they might sound great on recorders. of the time without obscuring it. music copyrighted before January 1, Can anyone tell me whether they would 1978, is protected for 95 years unless the be good pieces to arrange for recorder 4. Does the piece include technically initial copyright was not renewed in its quartet?—Paula Roga, Elmhurst, NY difficult passages, such as groups of 28th year. This law applies not only to fast-moving arpeggiated figures? music published in the U.S., but also nswer: Although I haven’t examined If it does, can the arranger divide the to music published in other countries Athe scores of the works you men- figures between two parts so as to decrease and used in the U.S. tioned, I will discuss some of the factors the skill level required to play them? that must be considered in determining A modern arranger, whether a piece is suitable for a recorder 5. Does the piece’s musical interest quartet arrangement. lie largely in changes of tone color starting with the and/or dynamics? 1. Can recorders cover the ranges of If tone color and/or dynamics play a original melodies, all the parts? major role in the piece’s attraction, the The works you mentioned were scored piece is not suitable for a small recorder would be free to make for modern orchestral instruments, most ensemble. It might work, though, with a of which have a pitch range considerably recorder orchestra, which includes the his/her arrangements larger than that of recorders. Therefore, whole spectrum of recorders from the arranger might have to make octave sopranino to contra bass and has several without worrying transpositions in a number of places players on a part. Loud passages could and/or divide single melodic lines among then be played tutti, with players dropping about copyright laws. two or more recorders. Examination of the out for softer passages, and changes in score will reveal whether those operations timbre could be produced by contrasting That would be the most can be performed without badly disrupt- bright high choirs with darker sounding ing the smooth flow of the melodic lines. low choirs. sensible approach ...
2. Can a quartet reproduce the 6. Is the piece in question protected Now let us apply the above information harmony intended by the composer? by copyright? about copyrights to the works in Twentieth-century music often If so, the arranger must have prior per- question—Peter Maxwell Davies’s Scottish includes complex chords that cannot mission from the copyright owner to Dances and Respighi’s Ancient Airs and be filled out by only four instruments. arrange the piece, and separate permission Dances. According to the New Grove An arrangement with incomplete chords must be obtained to distribute, sell, loan, Dictionary, the Davies work was first would sound thin and unsatisfactory. lease or rent the piece. Penalties for copy- published in 1973, and Respighi wrote Inspection of the score will reveal how right infringement can be surprisingly three suites of ancient airs and dances, large an ensemble is necessary to cover the harsh, so the arranger needs to make sure first published in 1917, 1923 and 1931 intended harmony. the piece is in the public domain before respectively. attempting to arrange it. For the purpose of this discussion, let Send questions to Carolyn Peskin, Q&A Editor, In order to determine whether a piece us assume that all those works were copy- 3559 Strathavon Road, Shaker Heights, OH 44120; of music is in the public domain, we need righted in the year of first publication. The
24 American Recorder 1917 suite was not renewed, the suite is no will. The new owner can then trans- entered the public domain in 1945 (1917 fer the copyright to still other owners. This + 28). If, however, the copyright was problem might possibly arise in connec- renewed, the piece will not enter the pub- tion with the Respighi works. They were lic domain until 2012 (1917 + 95). Simi- originally published by Ricordi, an impor- lar calculations will show that the other tant publishing firm in Milan, Italy, which, two Respighi suites entered the public do- I believe, is still in existence. Anyone plan- main in 1951 and 1959 respectively if the ning to arrange those pieces should first initial copyrights were not renewed, but contact Ricordi to find out whether they will be protected until 2018 and 2026 re- are still protected by copyright and, if so, spectively, if the copyrights were renewed. who the current copyright owner is. Determining whether a copyright has While some of the compositions in this been renewed can be very difficult question, and possibly all, are not yet in because renewal notices on sheet music the public domain, the early music from have not been legally required for several which they were derived definitely is. The decades. The U.S. Copyright Office in the dances used by Davies were composed in Library of Congress will do copyright the 16th century, and Respighi’s sources searches for a fee, but positive results are were lute pieces composed in the late 16th not guaranteed. Therefore, the safest pro- and early 17th centuries. Respighi found cedure, if the music does not bear a a transcription of those pieces in a renewal notice, is to assume that the initial publication by the 19th-century Italian copyright was renewed and that the music musicologist Oscar Chilesotti. A modern is protected for 95 years. arranger, starting with the original Another problem arises when an melodies, would be free to make his/her arranger tries to identify and locate the arrangements without worrying about current copyright owner in order to obtain copyright laws. That would be the most permission to arrange a copyrighted piece. sensible approach, since the arranger After the original owner’s death, the copy- would then also be free to use his/her right is transferred to a new owner in creative imagination, unhampered by accordance with provisions in the original another composer’s creation. owner’s will, or to the next of kin if there Carolyn Peskin
November 2005 25 CHAPTERS & CONSORTS ______Busy chapters in Florida and Arkansas, recorder orchestra concerts, ______the season when chapters start fall workshops and meetings
Recorder Orchestras in the News written for their instrument. It was also an MPRO, an ARS consort, is an organiza- On June 5, the Mid-Peninsula Recorder opportunity for two of Palo Alto’s long- tion of recorder and other early instru- Orchestra (MPRO) presented a concert standing musical institutions—MPRO, ment players that exists for the purpose of in Palo Alto, CA, featuring music for founded in 1962, and PACO, founded in joint music-making. Membership is open recorders and strings. Joining MPRO for 1966—to collaborate and share their without audition to anyone who knows this concert was the Preparatory Division experience and talents with one another the basics of an early music instrument, of the Palo Alto Chamber Orchestra and the community. and is able to read and play the music (PACO), consisting of string players ages MPRO’s December concert includes a provided at bimonthly meetings. For 11 to 13 directed by Kris Yenney. largo from G. F. Handel’s Concerto Grosso, information, call Palmer, 650-591-3648, Two major works originally written for Op. 3, No. 1; an allegro by F. J. Haydn; a or see
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26 American Recorder Chapters in Arkansas have had a busy several months, beginning with the first of two workshops sponsored this year by the Aeolus Recorder Konsort (ARK) of Little Rock— a March 4-5 workshop with Martha Bixler entitled “Music from the New World.” The Friday night Above left, members from three areas of master class and Saturday full-group Arkansas gathered to play at Wiederkehr session drew participants from Missouri, Winery. (Photo courtesy of Bill and Eileen Oklahoma and Texas in addition to Rees) Above right, Don Wold (l) presents Arkansas. The Saturday sessions the Arkansas Traveler Certificate, signed included selections from Brazil and by Governor Mike Huckabee, to Lisette other South American countries, fugues Kielson. At left, Charles Whitford of the and other pieces by early American Bella Vista Recorder Consort (l) and composer William Billings, and a Martha Bixler peruse a score before the contemporary composition by LaNoue March master class. (Photo by Don Wold) Davenport. On June 4, 14 Arkansas recorder players and four spouses continued a tradition by holding the fifth annual gathering for music-making, fun and food at Wiederkehr Winery. This year members of the Bella Vista and Little Rock chapters welcomed a Hot Springs contingent. The instrumentation for playing ranged from sopranino to contra bass, with guitar and percussion. Group playing—led by Laurene Williams and John Wood of Little Rock, and Bill Rees and Charles Whitford of Bella Vista— covered music from Renaissance to contemporary, including several double choir pieces and arrangements of familiar Gershwin tunes. The Winery, centrally located in Altus, AR, offers a suitable venue for gatherings at no cost and an opportunity to enjoy lunch at their restaurant. ARK presented a second recorder workshop on August 27, with Lisette Beatin’ Path Publications Kielson as clinician. The title of the workshop was “Getting a Handle on Music That Works! Handel.” Works that were explored were the famous Water Music Suite II, Suite in Robert Amchin A Minor, Concerto in B Major, Suite in Alto Antics ensembles for beginning alto recorder with percussion accompaniment D minor and the famous “Hallelujah Recorder Frolics for beginning C-pipes (Play-along CD available) Chorus” from Messiah. Moods and Modes for intermediate classroom ensembles: includes play-along CD Fifteen people attended, coming Brent M. Holl and Michael R. Nichols from St. Louis (MO), Tulsa (OK), Texas, The Beatin' Path Consort Collection for beginning and intermediate ensemble Hot Springs, Bella Vista and central Michael R. Nichols Arkansas. On Friday evening before the Christian Harmony Sacred Harp (Shaped Note) music arranged for SATB consort workshop, Kielson “mastered” a master class, with three sets of participants at See our online catalogue of Church, 302 East College Street choir, Orff and recorder music at: Grace Presbyterian Church. Bridgewater VA22812 www.beatinpathpublications.com Louise G. Rollefson, Eileen Rees, 540-478-4833 Shelley and Don Wold or visit your favorite music dealer
November 2005 27 Dr. Ray Zepp, Sr. ( at right with cake) after the Concert for Uganda, which included performances by (at left, l to r) Scott Garrett, Kevin Johnson and Ray Zepp, Jr. The Pilgrim Pipers at their August meeting (below right, l to r): Genie Terrell, Marilyn Kaminski, Elizabeth Snedeker, Ed Winters, Rod Snedeker, Stanley Kaminski; back row, Walter Marshall and Gordon Terrell. In August events, The Pilgrim Pipers Consort of St. Petersburg, FL, feted two of their own. Dr. Ray Zepp, Sr., was surprised on August 28 with a Concert for Uganda honoring him. His son, Ray Zepp, Jr., organized the benefit concert for Central Buganda University (CBU), located in East Africa 10 miles north of the equator, where Ray Jr., will teach next year. Money raised by the concert provided university scholarships to poor, rural Ugandans to attend CBU. Each member of the undergraduate student body of 500 pays $800 per year in tuition; a graduate student pays $1000. Dr. Zepp and wife Madelyn retired to Florida in 1976, and founded the ARS Longa Consort, which specialized in music of the Renaissance. They became ARS members in the 1980s. When the couple traveled to the Ivory Coast in Africa to visit Ray, Jr., who was then at the University of Abidjan, the three were invited to play the first early music concert on Ivory Coast National Television. They performed a Sonata for Three Recorders and Continuo by Alessandro Scarlatti. Dr. Zepp, now 92 years old, began his career as band director for the 36th Division Artillery Band. After World War II, he received his Ph.D. and took a job teaching woodwinds at Muskingum College in New Concord, OH. It was only later in his career at Muskingum that he branched out from clarinet to recorder, and taught recorder classes there. Members of The Pilgrim Pipers participating on the benefit were Kevin Johnson, Scott Garrett, Elizabeth Snedeker, Rod Snedeker, Eugene Szonnatagh, Ed Winters and Ray Zepp, Jr. The Pilgrim Pipers also gathered on another occasion to say goodbye to a “winter” member of their group, who has moved to California—Ed Winters (shown in center of group photo), who started recorder lessons with Dr. Zepp 20 years ago, at age 71!
CHAPTER NEWS SWEETHEART Chapter newsletter editors and publicity officers should send materials for FLUTE CO. publication in American Recorder to: AR, 7770 South High St., Centennial, CO 80122-3122, Baroque Flutes: our own “Sweetheart” model by e-mail
28 American Recorder The Ann Arbor Recorder Society held its presented by Marion Verbruggen, who Bach was also present at the South sixth recorder workshop on May 14, was in Minneapolis to play a concert with Bay (CA) Recorder Society’s September under the direction of Tom Zajac. A total Cléa Galhano. Of 38 people attending, meeting, which covered how Bach impro- of 36 participants—recorder players as five were critiqued by Verbruggen. A high- vised on inherited chorales to produce well as viol players, from the states of light was when Verbruggen and Galhano extended chorale fantasias. Leader Roger Michigan and Ohio—learned a great deal spontaneously decided to accompany Morris had planned this program for last about a topic not often presented: Polish master class performer Michael April, but delayed it because the portative music of the Renaissance, which Zajac Radcliffe-Kapuska by playing the violin organ needed for it was not available. Don titled “Musica Polonica.” He provided parts to his piece, a Vivaldi concerto in Watson provided the organ, which was a broad selection of music as well as A minor. Sixteen recorder players also played by Libby Codd. Organ was also direction in making it sound musical. ended the day by playing in a double choir featured on a moving motet by Rudolph The Boulder (CO) ARS Chapter and under Verbruggen’s direction. Mauersberger (1889-1971), written in Early Music Colorado sponsored an The chapter’s October and November memory of the fire bombing of Dresden. October workshop on the theme of joy, meeting plans included auctions of instru- The Greater Denver (CO) Chapter is sorrow and time in music. Eva Legêne led ments and music donated by a former mounting a new membership drive. One the workshop, entitled “Compare and member who no longer plays recorder. effort is to emphasize outreach, by having Contrast: Contrasting emotions in the Members will play J. S. Bach’s chorales, groups organized to promote the recorder music of the Renaissance, Baroque, and and his organ preludes based on chorales, to schools. To kick off the effort, the Today.” She also gave an evening concert. to work on tuning and breathing— consort Artifax (with the addition of a To meet the needs of all playing levels, specifically using ideas from The Recorder few friends) performed for a gathering music was sent ahead of time to Player’s Companion by Frances Blaker. of Orff-Schulwerk teachers in October. participants, and Anne Fjestad Peterson provided alternate instruction for less experienced players for part of the day, Provincetown Bookshop Editions while Legêne led a session for strong intermediate and advanced players. PUT SOME HUMOR INTO YOUR CONSORT WORK The Guild for Early Music (GEM) held its debut day-long festival on with these Provincetown Editions: October 1 at The Grounds for Sculpture Southwest of Baroque: David Goldstein’s Suite for SA Recorders in Hamilton, NJ. Founded in 2004, the (Cowboy in style, Baroque in form) ...... $4.95 consortium of early music ensembles and musicians includes the Princeton ARS Barbershop Recorder Quartet: 9 “Oldies” lovingly arr. for Chapter, whose PRS Ensemble played Recorder Quartet (SATB) by Andrew Charlton ...... $8.25 October 1. GEM serves central New Jersey and eastern central Pennsylvania, with a I Sing a Song of the Saints of God: 7½ Variations by mission to: promote historically informed Richard Busch on “Grand Isle” for 3 Recorders & Keyboard performances of early music; provide (Witty variations on a beloved Children’s Hymn) . . . .$7.95 support and resources to amateur and professional ensembles and musicians, A good source for Recorder & Viol Music of all publishers. and to encourage emerging artists and The Provincetown Bookshop, Inc. reach out to the community in order to 246 Commercial Street, Provincetown, MA 02657 Tel. (508)487-0964 expand horizons; and to foster an appreciation of earlier historical periods. For more information about GEM, contact Judith Klotz, 720 Valley Forge Ave., Lawrenceville, NJ 08648, 609-393- 3762; or Patricia Hlafter, 33 Morgan Place, Princeton, NJ 08540, 609-924-7358. On August 2, the ARS chapter on Long Island, NY, officially became the “Recorder Society of Long Island, Early Music America Magazine is the quarterly Incorporated.” The chapter newsletter publication for the Early Music Community in explains the group’s decision to venture North America: Professionals, Students, and into obtaining 501(c)(3) status as a way to Audience members. maintain their not-for-profit status “and not become an ‘in-the-hole’ organiza- Articles on performance practice, trends in the tion.” Donations to chapters that have IRS field, recording reviews, and a new book reviews 501(c)(3) status are tax-deductible, like department. those made to the ARS itself. Instead of their regular September meeting, the Twin Cities (MN) Recorder Call 888-722-5288 or email [email protected] Guild substituted a master class for a FREE sample issue.
November 2005 29 DEPARTMENT OF
______AMPLIFICATION ______A primer on the history of recorders, ______the original Lullaby, music by Tui St. George Tucker
A Short, Personal and with cylindrical bores as well, although meantone. Some players prefer this sound Musical History of Recorders there aren’t really any such surviving (or perhaps more the idea) to the exclu- EDITOR’S NOTE: This piece follows on Bob instruments (and with the space under sion of meantone in 14th-century music, Marvin’s earlier missive, published in the closed fingers, the bore is far from truly and indeed the intervals of a Pythagorean January 2005 American Recorder. cylindrical). The result was gratifying, a flauto are easier refingered “pure” than to The history of recorders starts with a strong octave-rich timbre that seems to try to play a meantone instrument few shards of bone and wood, some suit much pre-Renaissance music, Pythagorean. But much of the repertoire images of people with long things in their especially Italian and Spanish, even whose harmony seems good for cylindri- mouths and hands, and some literary laude and villancicos into the 16th century. cal flauti features prominent thirds and references to “flute” words. Fortunately, The sound seems to correspond to sixths, and a melodic sense of triads (e.g., later evidence becomes less sketchy, and the stronger “voce di chiesa” and the Ciconia) better suited to meantone. conclusions less speculative; we never folk-inspired vocal practice cultivated And physically, meantone fingerhole entirely stop guessing, but it’s perhaps a with much success in some modern placement is more regular; cross-fingered not entirely misplaced article of faith that Italian early music. woodwinds like small enharmonic we can guess more, or less, intelligently, I like the richer sound of thicker walls, semitones. Pythagorean flutes will always The mists that swirl about musical which aggravates the chief technical defect be speculative, and to a lesser extent, even practices start to clear sufficiently to make of this design—small octaves, especially cylindrical bores, musically useful as they some good guesses towards the end of the between notes III and X, which get even are. Middle Ages, about 1400, but much of the worse in bigger sizes. Leaking fingers can Much less speculative are the many guessing is based on a confidence in a correct the problem, and a chamber in the 16th-century (we think) recorders in continuous musical development that we bore can help, but, generally, such museums, most of which are similar in can extrapolate from. We know later recorders need increasing breath-pressure design. In the early 15th century, a new music much better. from low to high notes. harmony came to France from England, Fourteenth century Italian trecento Fortunately, a bass-heavy balance of the “contenance angloise,” rich in thirds music is quite idiosyncratic, but some of sound seems less important in the music and sixths. It became an international the repertoire survives in more cosmopol- than a special, strong interaction within standard as it rolled like a juggernaut over itan [manuscripts] of the early 15th centu- intervals. Music of this time invites Europe, crushing local practices under its ry, justifying some of that confidence. consideration of Pythagorean tuning, thick, triadic wheels. About this time, indistinct and indiscrim- hints of which survive into late 16th- It favored massive tonal architecture, inate instruments in pictures become century musical practices. and families of similar instruments of what we’d clearly call recorders (one study But talk of tempering its wide, wild different sizes sprang up, extending down found double flutes appearing earlier than ditones into respectable harmonic thirds to deep, dinosaurian extremes, which “normal” single ones in paintings). Most starts in the early 14th century. Pythagore- might represent not only an aesthetic taste of the images are of small, outwardly cylin- an [tuning] has a more varied menu of for the substantial, but also a swanking of drical flauti, so I tried imitating that form consonance and dissonance than mean- construction techniques and vaunting of tone, with a preference the wealth of patrons. Bob Marvin’s flauto doppio for the richer semidi- We may owe the preservation of these tone; and perhaps its instruments to the new prestigious smaller melodic semi- hobby of collecting and of cultural tones contrast more curiosity cabinets—the bigger the item, with wholetones to the more prestige. These recorders appear help characterize full-blown, with no trace of development different modes and or transitional forms, and the first fixed interval species. date, 1535, is on a small basset, which So I tried some seems to belong more to the big 8’ Pythagorean cylindri- ensembles than to the 4’ sets of F,c,c,g cal flauti, and liked already found in books. So the develop- their activer sound in ment of such recorders seems to predate 1300 music better the phenomenon of collecting. than the more static They exploit the new harmony to
30 American Recorder powerful effect, a deeply gratifying growl Baroque bores). Ganassi’s flare raises the as a l6th-century fingering chart, point in in large ensembles. Physically, their bores bottom note more than its overblown that direction. The early 17th century taper towards the foot, but re-expand from partials, relatively lowering them. abounds in suggestions of little flauti in about 3/4 [of] the way down, hence the Whether such a design was developed sonata titles and other music, images of term “choke-bore.” Acoustically, this more for the sonority or the extended small recorders in sensual allegories, or suppresses the octave partial, but not the range is hard to say. And why did it have being colporteured and kramered at fairs, 12th, a feature of some Renaissance viols such a short heyday, such as it was in and of course, in Van Eyck, et al. and virginals, which react similarly to pictures? There are some original instruments harmonies. Perhaps it was tied to a narrowly which might serve as models to play the Sizes deeper than tenor had a key, and specific repertoire or an ephemeral variety of early 17th-century music with several surviving basses, from basset to aesthetic (the small but delightful world of some flexibility of expression, yet clarity of brontosaurus great bass, have four keys, frottole?) And the bottom note can be sound, and perhaps a trace of a certain extending the range down a fourth. Why? problematic, its basic stability all too sensuality. Keys are noisy and problematic, and those readily upset by small fluctuations of bore lowest notes lack the sonority of a one-key and voicing (not to mention the rather design. But the range of the instrument is acrobatic fingerings of the top notes). And then God said, greater, with a lighter, easier feel. While there are no surviving instru- An intriguing pos- ments with Ganassi’s silhouette, some “Que les Hotteterres sibility is the upward museum specimens with conventionally extension of range as “waisted” exteriors respond well to his soient.” And they made well, with all those fin- fingerings. But their huge fingerholes and gering combinations. reamed-out bottoms suspiciously suggest the jointed Baroque But maybe they were someone was just raising their pitch. mostly to show off There’s another breed of Renaissance recorder, and Dolmetsch keywork and long recorder, scarcely explored today. In fontanelles. Nürnberg (“Kynsecker”) and Bologna saw that it was good. 1535 was also the (“Rafi,” et al.) are sets of recorders, year of Ganassi’s apparently from the middle–to-late And then God said, “Que les Hotte- Fontegara, a well- 16th century, with relatively narrow, terres soient.” And they made the jointed spring indeed of mostly cylindrical bores, rather Baroque recorder, and Dolmetsch saw that diminutions, tongu- abruptly contracting near the bottom. it was good. ings, playing tips, fin- (Interestingly, before I’d measured l6th- We might ask just what the Hotteterres gerings, and a picture century instruments, my uninformed thought they were doing, what they showing recorders experiments led me to similar bores.) actually did, and to what extent they with ever-expanding Were these flutes efforts by makers innovated. Were instruments jointed for exteriors and huge similarly uninformed about details of musical reasons, to facilitate experimenta- bottom bores like “choke-bore” design, to produce tion, for ease of personal transport, or to miniature soprano impressive-looking recorder sets? Or were use cheap little pieces of boxwood? saxophones. These they innovations to meet the expressive (Some 16th century basses have clever features are found, to demands of new aesthetics? They don’t joints under the fontanelle to obviate varying extent, in work all that well, with little sound and using big wood the whole length.) many illustrations of poor octaves, but the Bologna instruments There’s a thread of coyness running the time. seem to be well used and played, and my through French music, from the vaux de I’d long dismissed limited experience with some reconstruc- vire and chansons parisiennes to voix de ville such images as a chimeric, generalized tions suggest they sound better in consort and airs de cour. The almost excruciatingly woodwind, combining elements of than singularly, and have a dynamic coy naïveté of the flûte à bec seems like the recorder voicing with the common bell flexibility well-suited to late Renaissance pointed tip of that thread, and its role as at the bottom of many reeds, an artist’s music. innocent metaphor in the interplay convention. But then I saw one too many, With a limited capacity to participate between sacred and profane love, and the and tried such flaring bells on my cylindri- in the dramatic extravagance of Baroque class conflict between jaquerie and nobilité cal flauti (unlikely there’d be a “choke,” music, “classical” Renaissance recorders is worth our attention. making the walls even thicker). were probably then relegated to stodgy As was said of a recent politician, the I was delighted with the results: not performances of old-time music, splendid recorder has much to be modest about; only did I get Ganassi’s extra notes, with in sound, but short on expression. They’re and of an actress, running the gamut of similar fingerings, but the bottom notes described in some rather retrospective expression from A to B. The recorder has a had more of the focused clarity typical of books on music well into the 17th limited repertoire of expression, but cylindrical bores. Most recorders respond, century, but soon became dust collectors within that range, a powerful idiosyncrasy to some degree to Ganassi’s fingerings, or firewood. that keeps it repeatedly rebounding from but the double-octave of the lowest note The transition from a “choke-bore” to ignominy. (overblown, with judicious leaking) is Baroque only entails less reaming out of Bob Marvin, Eustis, ME usually sharp (a semitone high on the foot, and several instruments, as well
November 2005 31 Musical Finds from Recent Issues condition. The king symbolizes manhood, gave the reader a good sense of Tui’s Carolyn Peskin sends in two interesting the queen womanhood, and the bird personality and talent. follow-ups to previous information in AR. childhood. The idea of aging is expressed I love the quote [from Martha Bixler] She writes that she is familiar with the by the man dying and the child growing up about [Tui] writing the Machaut mass. folk song used in David Goldstein’s trio and ‘leaving the nest.’ This idea is rein- She would at times say that she wrote the arrangement, Lullaby, that was published forced in the refrain, in which a woman Fauré Requiem and various works of Bach, in the January AR as the 2005 Recorder sings to her child.” including the B Minor Mass. She felt that Day! music. She has made her own Another interesting find she discov- this was the highest compliment she shorter, recorder quartet harmonization. ered while rummaging through old issues could pay to the composer—to want to The melody and suggested guitar of AR is a piece by Tui St. George Tucker have written it herself. She would also at chords are in Mir Trogn a Gezang: The New (subject of a memorial in the September times claim to be Beethoven, again paying Book of Yiddish Songs, 4th ed., edited AR). The trio, called Prelude and Blue for homage to his enormous gifts. There are so by Eleanor Gordon Mlotek (New York: Erich, was published as a centerfold many wonderful Tui stories …. Workmen’s Circle Education Department, stapled into the November 1974 issue. I thought I should mention that 1987). The book includes Yiddish words The five-page piece is in the composer’s we have constructed a web site of music using the Hebrew alphabet and a handwriting. It was written as a memorial and biographical material about Tui. It transliteration into the Roman alphabet. tribute to Erich Katz, who had died in is called (as you would expect) It also includes a very condensed 1973, and was sent to Winifred Jaeger.
5 Refrain ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ Ì ¡ ¡ ¡ ¡ ¡ ¡ Ì D Ì ¡ ¡ , Hush- abye, my little bird; 11 ¡ ¡ ¡ ¡ Ì ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ Ì K ¡ ¡ Ì D , , Ì ¡ ¡ , ¶ Peace,my child, be thine. My dar- ling's lost and gone for- ev- er. Pain and grief are mine.
32 American Recorder Friedrich von Huene, the well-known recorder maker, was awarded the 2003 Curt-Sachs-Award of the American Musical Instruments Society (AMIS)
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As a recorder player and a composer- TÉMENOS. GERD LÜNENBÜRGER, REC. et, with gently active textures and creative performer, I seek evidence of developments edition zeitklang ez-18020, 2004, yet periodic rhythms. The tunes and har- in recorder repertory and performance 1 CD, 70:07. Abt. $16.76,
Biffin has performed with teacher/composer David Hykes (origina- tor of the terms “harmonic singing” and “overtone chanting” to describe contem- plative chant) and made instruments for well-known figures such as blues guitarist Ry Cooder, multi-ethnic/blues fusionist Taj Mahal, and lutenist Hopkinson Smith. The harmonic language of this music shares some common ground with “new age” music, but these pieces—while capable of supporting contemplation— are not wallpaper music. This is a disc yielding enjoyment both in surface hear- ing and thoughtful, analytical listening. Of the three discs reviewed here, Témenos is the most beautifully packaged, with a booklet in German and English that offers depth of commentary on the works and their composers. This disc is a re- markable companion to Beyond the Fields. It provides a coherent program of elegant- ly recorded works composed for solo recorder—beginning with an inviting and exciting work by Scelsci (originally for sax- ophone), moving through challenging pieces by Lehmann and Lasagna, the charming and engaging Chinese Pictures by Isang Yun, and ending with the meditative
34 American Recorder works Témenos (for bass recorder and indigenous art and vernacular musics reactions (e.g., laughter as Rose performs gorgeous drones on tape) by Arteaga and around the world, and also an arena of his work Cartoons), and the excitement of Ofrenda by Lavista. exploration by many composers today. knowing these are works playable by a Lünenbürger studied recorder with Microtones offer a subtle shading in human being who is having a wonderful Birgit Beyer, Maria Kneihs and Walter van expression that is not available in equal time performing them. Hauwe, as well as electro-acoustic music temperament. Conceptually, use of tuning Recorderist Pete Rose is a remarkable with David Wessel. systems that incorporate microtones document of a remarkable musician, and I look forward to using Lünenbürger’s draws a direct connection between new a great deal of fun. disc as a compelling example for fellow work and non-Western musics. Tom Bickley is a recorder player in composers of the expressive range of the Recorders, lacking the constraints of Berkeley, CA. He grew up in Houston, TX, recorder. Böhm keywork, play microtones easily. studied in Washington, D.C. (recorder with Careful listening to this disc invites you in- Scott Reiss, musicology with Ruth Steiner, to the world beyond equal temperament. and composition with Pauline Oliveros), and Whether we realize it It demonstrates subtleness so persuasive came to California as a composer in or not, Clarke and that you may not notice that the intervals residence at Mills College. He sings at Incar- are not adhering to the rigidity of equal nation Priory, teaches recorder privately and Lünenbürger and all of us temperament. at the Bay Area Center for Waldorf Teacher From March 1991 to January 2002, Training, and is on the library faculty at who create and perform Rose wrote the “On the Cutting Edge” Cal State University East Bay. He plays with column in AR, engagingly encouraging Three Trapped Tigers (with recorder player new music for recorder interest in new work and new approaches David Barnett), Gusty Winds May Exist to our instrument. A look at his web site, (with shakuhachi player Nancy Beckman) owe a great debt of thanks
FEATURES A SUPERB SAMPLING OF MODERN RECORDER MUSIC FROM AROUND THE WORLD INTERSPERSED WITH ROSE’S OWN IMPROVISATIONS THE PERFORMANCES WERE RECORDED LIVE AT AMERICAN FESTIVAL OF MICROTONAL MUSIC CONCERTS AND FEATURE ROSE AT HIS BEST
“Recorderist Pete Rose” on the PITCH label (P-200204) available worldwide from www.cdbaby.com or www.afmm.org
November 2005 35 ______RESPONSE ______Finding natural acoustics, ______Dream recorders, playing C in tune
Lookin’ for sound in cleaner thought of me standing fully my husband some years before). At the all the right places dressed in the shower with a music stand time it felt like playing in a concert hall. I read with interest Tim Broege’s column and a recorder, playing away ... but her The cabin itself was set on the side of a “On the Cutting Edge” about searching face was a picture. valley, and the streams and lakes of the for recorder-friendly spaces in the March The balcony overlooking the ocean was trout farm were at the bottom of the valley. 2005 AR. This is something I do almost another nice place to play and, based on While I was playing, my husband was in compulsively wherever I go and Tim’s arti- the reactions of other guests on the beach the bottom of the valley fly-fishing, some cle got me thinking .... My work in the and water below, could be heard for some distance away. Once again, due to the as- mining industry in Australia has taken me distance. My tenor did particularly well on sistance of the acoustics of both the build- all around the country to some very that balcony. ing and the valley, the recorder projected remote areas. Also, my husband and I like clearly down to him, and it was apparent- to travel for holidays, with essential lug- I still do not know what ly as if I was playing beside him. We later gage including a couple of instruments, found out that the owner and builder of some sheet music and a stand, so I have the cleaner thought of me the trout farm and accommodation was played in some unusual places. standing fully dressed himself a musician. He had obviously In the north west of Western Australia, in the shower with a designed with these effects in mind. there are several national parks. In one of So when looking for recorder-friendly these large national parks is a small spot music stand and a spaces, be inventive and creative. Chapels, called Python Pool. Due to droughts, it recorder, playing away ... small churches and halls are had dried up; a sudden cyclone produced traditional playing spaces, but so much of 300mm of rain in three days and the wa- While visiting another mining town on this architecture is based on the structures terfall into the pool restarted. The area is a a business trip, this time in central of nature, so look for natural beauty spots natural amphitheatre, reached by wading Queensland, I was staying in a company- as well. Explore unusual spaces; you nev- down a stream, at the end of which is a run guest house. Whilst my colleagues er know what you might find in your own lovely deep pool backed by a high rock were off on various errands, I took advan- home or workplace. My next project is to wall on two sides, which join to form a cor- tage of another opportunity to explore play in an almost empty warehouse on ner with a waterfall. more interesting acoustics. In that partic- the mine site I currently work at. I have Once the waterfall restarted, people ular property, the most beautiful location had conversations in there and discovered from the region came to enjoy this natural was the laundry. While I was playing the signs I am beginning to recognize beauty spot. We went too, and I took a there, one of my colleagues returned (un- as characteristic of beautiful acoustics for chair, an alto recorder, music stand, some beknownst to me); she later told me she recorder. I can’t wait to try. Pepusch, Handel and Lloyd Weber. What had enjoyed my impromptu performance Allison Hutton, Queensland, Australia a pleasure to play, with rocks echoing the and referred to how meditative it sounded. music back to me, producing harmonies At the time, I was playing adagio move- TESTING OUR DREAMS in the Pepusch I had never heard before. ments of the Handel flute sonatas on the [In April], my recorder consort, Winds of People came to thank me, saying that sopranino and had been trying to use the Time, performed at the annual Victorian they had been able to hear the music all echo to enhance the soaring long notes of Festival [sponsored by] Staunton, VA. The the way down the canyon, and it was those pieces. main street is closed to traffic for the entire ethereal. In the right natural spots, the A hotel in coastal Central Queensland weekend while visitors and citizens of recorder does not fade away. Many people had a beautiful dining room. Having an af- Staunton promenade in their finest believe that the recorder cannot be used ternoon free on another business trip, I Victorian regalia. Music, boxing demon- successfully as an outdoors instrument; in asked the managers if they would mind if I strations, peddlers selling their wares, the right environment, it most definitely played there mid-afternoon, while it was and educational history programs filled can and projects magnificently. not being used—again, an opportunity to both days. Shops displayed antique items Another interesting experience was enjoy echoes and magnificent harmonies such as one might see 100 years ago. playing in Mauritius. While on a few days which are not normally available to me, as Winds of Time, a five-person ensem- holiday there, I explored the acoustics of living in remote areas, I mostly play alone. ble, had to perform as a trio, as two mem- the room we were staying in. The rather Finally, while staying in some bers were out of town. We were scheduled large bathroom had a very generous self-contained accommodation on a trout to play in a choice performance location— acoustic, much to the cleaner’s amaze- farm in southwest Western Australia, I an outdoor gazebo in the very center of the ment: she walked in on me trying it out. In thoroughly enjoyed the acoustics granted main street—great for a brass band, but particular, the shower was incredible and by the cathedral ceilings of the pine log what were we to do in order to be heard? once again some amazing harmonies cabin we were in. I immersed myself in my We decided to use our Dream recorders in emerged. I still do not know what the beautiful tenor (a birthday present from order to produce maximum sound.
36 American Recorder The morning we played, the sun was shining, but it was chilly and very windy. ARS Membership Enrollment and Renewal We thought our sound would be swal- Please enroll/renew me as a member of the Society. I’m looking forward to: lowed up as the wind blew through the ✰ American Recorder, ARS Newsletter, and the ARS Members’ Directory finger holes of our instruments. We were ✰ Members’ Library musical editions wrong! Our audience informed us that ✰ Eligibility for the ARS Education Program examinations they could hear us from a full block away. ✰ Discounts to some recorder workshops and on ARS publications Others claimed that they could hear us ✰ Mailings from suppliers of materials, music, instruments. (ARS list is made inside the shops. Pitch never faltered as we available only to purveyors of goods and services for recorder players.) played in unison, although we had to blow ✰ Information on all aspects of playing the recorder [to] fight the wind and still be heard, yet remain sensitive to ensemble playing. U.S./Canadian membership: ❏ one year $40; ❏ one year sustaining $70; ❏ two years $75 The Mollenhauer Dream recorders are constructed with a large bore, chunky and Foreign membership: ❏ one year $50; ❏ two years $95 simplistic in appearance. They were spe- U.S./Canadian Student* membership: ❏ one year $20; ❏ two years $40 cially designed by Adriana Breukink (see Foreign Student* membership: ❏ one year $25; ❏ two years $50 the informative interview in the Septem- *Enclose proof of full-time enrollment. ber 2003 AR) to be easy to handle and very Workshop membership: ❏ one year $60; Business membership: ❏ one year $120 responsive, especially for students and ❏ Address and/or phone information has changed in past year. amateurs. I am happy to report that these ❏ Do not list my name in Directory. recorders far exceeded our expectations! I All dues paid in U.S. funds by check on U.S. bank, or by international money order. highly recommend a set of these recorders for any ensemble that plays at outdoor Family members residing at the same address may share a membership. However, the student rate is not applicable to a shared family membership. For an additional events such as Renaissance fairs, etc. listing in the ARS Directory under different surnames at the same address, add $5. We had a chance to show our instru- ments to students and parents who heard Please check to be included on the ARS list of ❏ ❏ our recorder playing and stopped by the Recorder teachers and/or Professional performers. (Since your recorder activi- ties may change, you must indicate on each renewal if you want to continue to be gazebo for a closer look at the unusual listed.) style of the Dream instruments. We played pieces in SST and SAT combinations. ❏ I wish to contribute $______to help sustain the work of the Society. Mollenhauer has now started to produce Please charge my dues/donation to my VISA/MASTERCARD: the Dream bass for sale, and we can’t wait #______Exp. Date: ______until we can add one to our consort. Cardholder’s signature______Linda Swope, New Hope, VA NAME______PHONE (______)______ADDRESS ______THAT AWKWARD ALTO SECOND ______E-MAIL ______ OCTAVE C (TENOR/SOPRANO G ) CITY______STATE ____ ZIP/POSTAL ______ Alto C ' is awkward because on many CHAPTER/CONSORT AFFILIATION, IF ANY:______instruments it tends to be flat. You can of OPTIONAL INFORMATION: course sharpen it by blowing harder, Chapter officer or committee member? which should bring it up to pitch. But this ❏ ❏ ❏ makes it louder, and, as it is often the lead- Yes (officer/committee: ______) No Have served chapter in past ing [tone] in a D major or minor scale, this Age: _____ For how many years have you played the recorder? _____ distorts the balance of phrasing. Leading Level of recorder playing: ❏ Amateur ❏ Semi-professional ❏ Professional [tones] are generally more subdued than a Annual income: ❏ Under $10,000 ❏ $10,000-30,000 ❏ $30,000-50,000 following tonic, and need to be a little on ❏ $50,000-75,000 ❏ $75,000-100,000 ❏ Over $100,000 the sharp side, not flat. Try the effect of Portion of your income derived from music: ❏ All ❏ Some ❏ None playing a D major scale quite slowly, but Portion of music income derived from the recorder? ❏ All ❏ Some ❏ None listening carefully to the intonation (and watch the F ' to G' interval as well). If all or some, what kind of recorder activities are involved? (Check all that apply.) Moreover, C ' is a slow-speaking note— ❏ Teach privately ❏ Teach/lead workshops ❏ Teach elementary school music ❏ ❏ ❏ try repeating it in fast 32nd notes, so Performance Recorder maker Musical director/coach ❏ Other ______thumbing becomes critical, and blowing harder only exacerbates this problem. What type of recorder music do you play? (Check all that apply.) ❏ Medieval/Renaissance ❏ Baroque ❏ Modern/pop ❏ Folk ❏ Solo Over-articulation all too easily slips into a ❏ Recorder Orchestra ❏ Chamber music with other instruments (such as higher harmonic, being third octave B ''. trio sonatas) ❏ Broken consort with other instruments (such as a collegium) There are three remedies, but each has ❏ Consort involving three or more recorders playing one-on-a-part ❏ Grand consort its own side-effects. (format used in many chapter meetings, with several recorders playing on each part)
Responses from our readers are welcomed and may be sent to American Recorder, 7770 South High St., AMERICAN RECORDER SOCIETY Centennial, CO 80122. 1129 Ruth Drive, St. Louis, MO 63122-1019 U.S.A. Letters may be edited for length and consistency. Fax renewals to 314-966-4649
November 2005 37 One is to finger Ø 12 - - 5 - - instead of ARS PUBLICATIONS the normal Ø 12 - 4 - - -. This certainly Erich Katz Contemporary Music Series Members Non-Members brings the note into tune, but it is very dif- ficult to articulate, having two harmonics 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 sitting on its shoulder—being E' and B '', Anthony Burgess, Sonatina for Alto Recorder and Piano (Level II) (2 scores) $7 $12 Cecil Effinger, Dialogue and Dance (SATB) (Level II-III) (score & parts) $10 $18 as well as a D undertone. This makes for Lee Gannon, Sonatine for three altos (Level III) (score & parts) $14 $26 great fun with multiphonics, but hardly (score, parts & demo cassette) $23 $43 helps normal playing. On some recorders, Erich Katz, Suite of Jewish Folk Tunes (S S/A8 A/T) (Level II) (three scores) $10 $18 Vaclav Nelhybel, Six Short Pieces for Three Recorders, (AA/TT) (Level II) this fingering for C 'will not articulate at edited by Alan Drake (3 scores) $8 $14 all. It is, however, very useful within a slur, Stanley W. Osborn, Kyrie and Vocalise for soprano voice and recorders avoiding the difficult cross-fingerings of a (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14 Frederic Palmer, Entrevista (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14 D major scale done with normal fingering. Sally Price, Dorian Mood (SATB) (Level II) (score & parts) $10 $18 The second remedy is to use the alter- Jeffrey Quick, Picnic Music (SATB) (Level II) (score & parts) $ 5 $ 8 native fingering Ø 123 - 567, although this Musical Editions from the Members’ Library: is rather difficult to remember. But it is ARS members: 1 copy, $3 2 copies, $4.50 3, $6 4, $7.50 5, $10 6, $11.50 Non-members (editions over 2 years old): 1 copy, $5 2 copies, $8.50, 3,$12 4,$15 5, $19.50 6, $23 usually in tune, and is in any case easy to The ARS is happy to provide photocopied enlargements of any Members’ Library edition at the same prices. Please sharpen with 7 or flatten with 4. It articu- specify “Members’ Library Enlargement.” * = Editions not yet available to non-members. lates well, although the undertone can be Bruckner’s Ave Maria (arr. Jennifer W. Lehmann) *S-O-S (Anthony St. Pierre) Canon for Four Bass Recorders (David P. Ruhl) Santa Barbara Suite (Erich Katz) a nuisance—but it is possible to reduce it Dancers (Richard Eastman) Sentimental Songs (arr. David Goldstein) by finding an exact thumbing aperture. Different Quips (Stephan Chandler) Serie for Two Alto Recorders (Frederic Palmer) Elegy for Recorder Quartet (Carolyn Peskin) Slow Dance with Doubles (Colin Sterne) On many Renaissance wide-bore Elizabethan Delights Sonata da Chiesa (Ann McKinley) instruments, this fingering is the only way *Gloria in Excelsis (Robert Cowper) Three Bantam Ballads (Ann McKinley) to get a secure C '(with Ø 12 - 4567 for D'). Imitations (Laurie G. Alberts) Three Cleveland Scenes (Carolyn Peskin) *In Memory of Andrew (David Goldstein) Tracings in the Snow It also provides a good trill with D ' with no *Jazzy Rondo (Carolyn Peskin) in Central Park (Robert W. Butts) *Little Girl Skipping and Alouette et al Trios for Recorders (George T. Bachmann) register-break crossing. There is, however, (Timothy Walsh) Triptych (Peter A. Ramsey) a register break between this fingering and Los Pastores (arr. Virginia N. Ebinger) Two Bach Trios (arr. William Long) ' New Rounds on Old Rhymes (Erich Katz) Two Brahms Lieder (arr. Thomas E. Van Dahm) normal D —a distinct disadvantage. Other Quips (Stephan Chandler) *Variations on “Drmeš” (Martha Bishop) The good, though challenging, third Poinciana Rag (Laurie G. Alberts) Vintage Burgundy remedy is partial venting (“half-holing”) ARS Information Booklets: with finger 3. It has to be accurate in rela- ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 tion to the amount of breath input, or it Non-members: 1 booklet-$18, 2 booklets-$33, 3-$44, 4,$55, 5-$66, 6-$76, 7-$86 will be out of tune. The best way of getting Adding Percussion to Medieval and Renaissance Music (Peggy Monroe) American Recorder Music (Constance Primus) it is to swivel back the left wrist. It is The Burgundian Court and Its Music (Judith Whaley, coord.) easily—perhaps too easily—tuneable. Improve Your Consort Skills (Susan Carduelis) Contrary to some players’ belief, C ' Music for Mixed Ensembles (Jennifer W. Lehmann) Playing Music for the Dance (Louise Austin) cannot be sharpened, like D', by slightly Recorder Care (Scott Paterson) widening the thumbing aperture; this Education Publications only changes the pitch of the undertone. The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). It can be sharpened by slide-fingering 2, First copy free to ARS Members (mailed to current members in 1996 & new members as they join); which is far too critical, or 1, which causes replacement copies for members or non-members, $3. Guidebook to the ARS Personal Study Program (1996). Material formerly published in the Study articulation problems. Neither of these Guide and Study Guide Handbook, plus additional resources. Members, $11; non-members, $20. solutions is really practical. ARS Music Lists (2002 with 2003 Supplement). Graded list of solos, ensembles, and method books. My own approach to the C ' problem Members $9; non-members, $15. Package deal available only to ARS members: Guidebook and Music Lists/Supplement ordered together, $16. is, in fast music where the flatness may Junior Recorder Society Leader’s Resource Notebook. ARS members, $20; non-members, $40 go unnoticed, to use the normal fingering. (updates at reduced rates after initial purchase). Special rate for previous purchasers of JRS Class Program, $15. Dues for each JRS student member sponsored by an ARS member, $5 ($4 each for In sharp keys, I use Ø 12 - - 5 - - for slurs groups of 10 of more). JRS student members receive activities plus “Merlin” badges and stickers. and trills. Ø 123 - 567 is for use with Other Publications Renaissance recorders if normal C ' is Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering forming unreliable in articulation or pitch. an ARS chapter. ARS members, $10; non-members, $20 (updates free after initial purchase). I find I use partial venting in slow mu- One free copy sent to each ARS chapter with 10 members or more. sic for soft dynamics more than I used to, Recorder Power, educational video from the ARS and recorder virtuoso John Tyson. An exciting resource about teaching recorder to young students. ARS members may borrow a copy for one month by sending a though it needs some practice to maintain refundable $10 deposit to the ARS office along with the address to which the tape should be shipped. good intonation. It is especially useful Discography of the Recorder, Vol. I (1989). Compiled by Scott Paterson and David Lasocki. Discography of the Recorder, Vol. II (1990-1994). Compiled by Scott Paterson. with Renaissance recorders with large Either single volume: ARS members $23; non-members, $28. finger-holes. It was, after all, a standard Both Discography volumes together: ARS members only, $40. technique in the time of Ganassi (1535) American Recorder: Cumulative Index for Vols. I-XXXX. ARS members, $20; non-members, $32. Index Supplement, Vol. XXXIV-XXXX. ARS members, $8; non-members, $14. and Blankenburgh (1654). Incidentally, my wife’s Moeck Renais- 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 $3 per item. When ordering sance tenor plays a perfectly good G ' with 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. VISA/MasterCard also accepted. Ø 12 - - - - - and A with Ø 12 - - - - 7. Such fingerings are very confusing to remember. American Recorder Society But recorders are like that . . . 1129 Ruth Drive, St. Louis, MO 63122-1019 U.S.A. N 800-491-9588 Anthony Rowland-Jones, Cambridge, UK 38 American Recorder Order your recorder discs through the ARS CD Club!
The ARS CD Club makes hard-to-find or limited release CDs by ARS members available to ARS members at the special price listed (non-members slightly higher). Add Shipping and Handling: $2 for one CD, $1 for each additional CD. An updated listing of all available CDs may be found at the ARS web site:
IN STOCK (Partial listing) ____IN NOVA CANTICA, A Celebration of ____ARCHIPELAGO Alison Melville, recorder & Christmas. Eileen Hadidian, recorder & traverso. Sonatas & concerti by Hotteterre, Stanley, Renaissance flute, with voice, violin, vielle, gamba and lute. Traditional carols, chansons and festive Bach, Boismortier and others. $15 ARS/$17 Others. ____SONGS dances from the 13th-17th centuries. Healing ____ARLECCHINO: SONATAS AND BALLETTI IN THE GROUND Muses. $17 ARS/ $20 others. OF J. H. SCHMELZER Ensemble Caprice Stuttgart. Cléa Galhano, ____JOURNEY Wood’N’Flutes, Vicki Boeckman, Matthias Maute & Sophie Larivière, recorders; recorder, Vivian Montgomery, harpsichord. Songs Gertie Johnsson & Pia Brinch Jensen, recorders. Michael Spengler, gamba; Maria Grossman, harpsi- based on grounds by Pandolfi, Belanzanni, Vitali, Works by Dufay, Machaut, Henry VIII, Mogens chord. Works by Schmelzer, Muffat, Vitali. Antes Bach, others. 10,000 Lakes. $15 ARS/$17 Others. Pederson, W.W. Van Nieuwkerk & Maute—seven Edition. $15 ARS/$17Others. SUZUKI RECORDER SCHOOL (Four vols.) centuries. Kadanza Classics. $15 ARS/$17 Others. ____ BACH: MUSIC TO CHALLENGE THE Recordings to accompany the Suzuki® Recorder ____A JOURNEY AMONG TRAVELLERS INTELLECT AND TOUCH THE HEART Carolina School method books, with Marion Verbruggen, (CD SHORT) Peter Bowman & Kathryn Bennetts Baroque, Dale Higbee, recorders. Cantata No. 21, recorders. $15 ARS/$17 Others, for each single CD, perform Donald Bousted’s 26-minute quarter-tonal Part One; Cantata No. 182. $15 ARS/$17 Others. or $33 ARS/$40 others for any two Suzuki® CDs: piece for two alto recorders, which had its U.S. ____BLOCKFLOETENENSEMBLE WIEN ____Vols. 1 & 2 for Soprano or ____Vols. 1 & 2 for Alto premiere at the 1998 Berkeley Festival. Irmtraut Freiberg, Karin Heinisch, Susanne Jurdak, (Vols. 1 & 2: folk & children’s songs, Baroque dances) Eva Maria Kaukal & Prisca Loeffler, recorders. $12 ARS/$14 others. ____Vols. 3 & 4 for Soprano: Handel, de la Guerre, others Ensemble works by Demantius, Monteverdi, ____LANDSCAPES David Bellugi, recorders; Ali Morley, Mozart, Schermann, Kaeser, Tajbakhsh & Chris Hayward, percussion. “Virtual” ____Vols. 3 & 4 for Alto: Handel, J.S. Bach, Purcell, others W. W. van Nieuwkerk, Pachelbel, Reichard. recorder orchestra created by Bellugi. Three centuries ____SWEET FOLLIA, THE RECORDER ON TWO $15 ARS/$17 Others. of ethnic music by Encina, Brouwer, Ortiz, Bartok. CONTINENTS Ensemble Caprice. Matthias Maute ____CHARLESTON PRO MUSICA ON TOUR Frame. $15 ARS/$17 Others. & Sophie Larivière, recorders. Selections by Marsha Evans, Lewis Fitch & others, recorders, ____LES AMIS DU BAROQUE Paul Nauta, recorder Purcell, Morley, Maute, Couperin, Van Eyck, others. gemshorns, guitar and voice. Medieval and & Baroque flute; Koen Dieltiens, recorder. Music by Atma Classique. $15 ARS/$17 Others. Renaissance music with consort and singers. Bassani, Corelli, Vivaldi, etc. Highlight Intl. ____TELEMANN ALLA POLACCA REBEL Matthias Millennium Music/ Charleston SC. $15 ARS/$17 Others. $15 ARS/$17 Others. Maute, recorders & traverso, play concerti and suites y ____CIRCULO MAGICO (MAGIC CIRCLE) ____MIDNIGHT SUN Alison Melville & Colin Savage, G.P. Telemann. . $15 ARS/$17 Others. Cléa Galhano, recorder. Brazilian and American con- recorders; Ensemble Polaris. New arrangements of ____TELEMANN: DUOS POUR FLUTES, temporary music for recorder and various instruments. traditional music of Norway, Finland, Estonia, Sweden, Ensemble Caprice. Matthias Maute & Sophie $15 ARS/$17 Others. Scotland. Classic CD Disc of the Month, August 2000. Larivière, recorders & transverse flute, Alexander ____CONCERTI DI NAPOLI Matthias Maute, Dorian. $15 ARS/$17 Others. Weimann, clavichord. Six Telemann duos & recorders, and REBEL. Sonatas by Mancini, Roberto ____MUSIC FOR A WINTER S EVE, Bringing Light sonatas alternate with five fantasies for clavichord Valentini, A. Scarlatti. Dorian. $15 ARS/$17 Others. to the Darkness. Eileen Hadidian, recorder & by Maute. Atma Classique. $15 ARS/$17 Others. ____A. CORELLI Ensemble Caprice Stuttgart. Baroque flute, with voice, violin, viola da gamba & ____TELEMANN: TRIO SONATAS WITH Matthias Maute & Sophie Larivière, recorders; Celtic harp. Traditional, Renaissance and Medieval RECORDER Vicki Boeckman, recorder. Trio sonatas Michael Spengler, viola da gamba; Maria songs to celebrate midwinter and the changing of for recorder and violin, recorder and gamba, recorder Grossman, claviorganum. Works by Corelli & the seasons. Healing Muses. $15 ARS/$17 Others. and harpsichord. "Expertly played collection of cham- Kuhnau. Antes Edition. $15 ARS/$17 Others. ____MY THING IS MY OWN: BAWDY MUSIC OF ber music..."--Early Music America Magazine. ____DREAMS INSIDE THE AIR TUNNEL THOMAS D URFEY Tina Chancey, Grant Herreid & Qualiton. $15 ARS/$17 Others. Zana Clarke, recorder & composer. “Drawing on the Scott Reiss, recorders & other early instruments; ____TRIO ATLANTICA Lisette Kielson, recorders. music of the didjeridu & shakuhachi...beautiful & Rosa Lamoreaux, soprano. Improvisations on Works by Bach, Telemann, Montéclair, Leclair. Trio hypnotic...”—American Recorder. Orpheus Music. tunes of love, sex & seduction in 18th-century Atlantica. $15 ARS/$17 Others. $15 ARS/$17 Others. England. Koch Int’l. $15 ARS/$17 Others. ____20TH CENTURY MUSIC FOR RECORDER & ____ENSEMBLE PIACERE 2002 Ensemble ____PRIEST ON THE RUN Piers Adams, recorders. PIANO Anita Randolfi, recorders. Music by Jacob, Piacere, Irmtraut Freiberg, Eva Maria Kaukal, Concerti composed by the ensemble’s namesake, Bartok, Leigh, others for recorder & piano. recorders. Sparkling performances of works from flame-haired Vivaldi. Upbeat. $15 ARS/$17 Others. $15 ARS/$17 Others. the Renaissance to the 20th century by ____RECORDER JAZZ Warren Kime, recorder. ____VON PARIS NACH WIEN Duo Caprice Frescobaldi, Ortiz, Telemann, Fux, Keil and many Original jazz charts with a great groove. Stuttgart. Matthias Maute, recorder & Michael others. Ensemble Piacere. $15 ARS/$17 Others. $15 ARS/$17 Others. Spengler, gamba. Works from Paris to Vienna by ____FOR NO GOOD REASON AT ALL Scott Reiss, ____REFLECTIONS, Music to Soothe and Uplift Rameau, Satie, Maute, J. Haydn, Chopin, others. Bruce Hutton & Tina Chancey sing and play more than the Spirit. Eileen Hadidian, recorder & Baroque Antes Edition. $15 ARS/$17 Others. flute, with Celtic harp and ’cello. Celtic, traditional, 30 early and traditional instruments. Hesperus's first Please indicate above the CDs you wish to order, Renaissance & Medieval melodies. Healing Muses. crossover CD, fusing Medieval and Renaissance and print clearly the following: $15 ARS/$17 Others. music with Appalachian, blues, Cajun, vaudeville, Name______SACRED & SECULAR CANTATAS OF J. S. early swing. Recorder heard as jug, blues harmonica, Daytime phone: (_____) ______pan pipes (quills)--and, of course, recorder. Golden BACH. Carolina Baroque. Dale Higbee, recorders. Apple. $15 ARS/$17 Others. Live performances of three cantatas, BWV 82a, Address: ______THE GREAT EMU WAR Batalla Famossa, a BWV 202, BWV 209. $15 ARS/$17 Others. City/State/Zip: ______SAMMARTINI: SONATAS & CONCERTOS FOR young ensemble, with first CD of Australian Check enclosed for recorder music. Orpheus. $15 ARS/$17 Others. FLUTE Ensemble Caprice & Rebel. Matthias Maute & Sophie Larivière, recorders & traverso. Extended _____ single CDs x $___ = $______THE GREAT MR. HANDEL Carolina Baroque, _____ 2-CD sets x $____ = $______TOTAL $_____ Dale Higbee, recorders. Sacred and secular music concertos and sonatas by Sammartini & Maute. Atma Classique. $15 ARS/$17 Others. Please charge the above amount to my MasterCard or by Handel. Live recording. $15 ARS/$17 Others. Visa:#______Exp. Date: ______HANDEL: THE ITALIAN YEARS Elissa ____LUDWIG SENFL Farallon Recorder Quartet Berardi, recorder & Baroque flute; Philomel featuring Letitia Berlin, Frances Blaker, Louise Cardholder’s signature: ______Baroque Orchestra. Handel, Nel dolce dell’oblio & Carslake and Hanneke van Proosdij. 23 lieder, Mail to: Tra le fiamme, two important pieces for motets and instrumental works of the German ARS, 1129 Ruth Dr., St. Louis, MO 63122-1019 USA.. obbligato recorder & soprano; Telemann, Trio in F; Renaissance composer. $15 ARS/$17 Others. You may fax your credit card order to 314-966-4649. Vivaldi, All’ombra di sospetto. Dorian. $15 ARS/$17 ____SOLO, DOUBLE & TRIPLE CONCERTOS Others. OF BACH & TELEMANN Carolina Baroque, Dale Higbee, recorders. 2-CD set, recorded live. $24 ARS/$28 others. MUSIC REVIEWS ______Bach’s progeny, music from the Classical period, ______romp and come away to play trios
TRIO FOR RECORDERS, BY RICHARD before the main section of the piece, While he could not hold a post in the PETER MADDOX. Orpheus 123, 2004. SST. which is in a “fast and rhythmic” 6/8. Anglican Church, he was protected by his Sc 12 pp, pts 6 pp ea. Abt. $20 + P&H. The harp part can be played by a Celtic position and work in the Queen’s court. Richard Peter Maddox is an Australian harp, lever harp, or concert harp. It com- Byrd occupies a pre-eminent position choral director and composer, active in the plements the recorder trio, romping along in English music between the Tudor poly- Armidale area. He has composed works in in eighth notes with occasional three- phonists and the “golden age” around all forms, including a few pieces for voice chords. Benson says that the part is 1600. His motets for the Catholic Church recorder ensembles. for harpists of intermediate playing level. illustrate a blend of the traditionally Trio for Recorders is in three short move- It has a small range (from the C below mid- rugged English polyphonic style with ments. “March” passes the jaunty melody dle C to the second G above middle C), so the new, declamatory elements from among all three instruments, accompa- it could easily be played on a lap harp as the Netherlands and Italy. nied by an insistent snare drum-like well as larger harps. Even though the key He also wrote anthems and services for figuration in the other recorders. “Slow signature is three flats, only the E string the Anglican Church, giving the new Dance” is elegant, with a gentle swaying need be flatted—-A is never played, and all English rite some of its finest music and motion in 3/4 time. “Stepping Quick” is occurrences of B are made natural. Thus, introducing the accompanied verse light and wryly humorous, maintaining an if one has levers on the harp’s E strings, it anthem, which had sections for solo energetic drive throughout. is easy to change the levers—or, since the voices alternating with chorus. His The edition is well-marked and part has only a 2-1/2-octave range, one keyboard music stands out as a high cleanly prepared. It is recommended for need only tune three strings down to E . point in the history of English music. any occasion where this particular trio Much of the Romp sounds pretty good These two volumes provide a lot of combination is needed. with only one hand playing the notes from variety for consorts that offer their gifts in Carson Cooman one staff, so if the harpist is less accom- church. The name of the Latin chant and plished and cannot play all the notes up to any corresponding Biblical reference are HARPIES’ ROMP, BY BENJAMIN THORN. speed, playing one staff would be possible quoted at the beginning of every piece, Orpheus OMP 111 (
40 American Recorder BLÄSERSINFONIE NR. 3, BY JOHANN Of course, one of the big discussions CHRISTIAN BACH, ARR. ULRICH HERRMANN. will be how to handle the grace notes. In Anyone interested in Noetzel Edition No. 4671 (C. F. Peters). the first movement, the traditional 19th-century repertoire SATTB. Sc 15 pp, 5 pts 5 pp ea. $19.95. Baroque interpretation of treating them as Johann Christian Bach (1735-1782) 16th notes on the beat works pretty well. would enjoy making the was the eleventh son of J. S. Bach and the However, in measure 14 of the Menuetto, acquaintance of any of last to live to maturity. He began his the soprano and alto parts have a grace these three editions. musical training with his father, who died note followed by four 16th notes. Those when he was 14. He then studied with his same voices of the Presto, measure 63, are brother Carl Philipp Emanuel Bach. in triple time, and the grace note comes DREI SOLI (CA.1828), BY CARNAUD Four years later he studied in Italy, before three eighth notes. AÎNÉ, ED. PETER THALHEIMER. Carus eventually becoming organist of Milan All of this would make a good 11.229 (
November 2005 41 The three Solos of Carnaud Aîné come TRIO F-DUR, BY W. F. E . B ACH, ARR. thirds, while the bass voice takes off into from his Méthode pour le Flageolet. ULRICH HERRMANN. Noetzel 3919 scalar passages. This is a fun bass part! Although designed for pedagogical (C.F. Peters), 2000. ATB. Sc 9 pp, The third movement is marked “Poco purposes and containing extensive pts 6 pp ea. $12.95. Adagio,” and is in D minor. The use of two quick-note passages, they are quite Wilhelm Friedrich Ernst Bach (1759- melodic augmented seconds in scale effective musically. They are rather long 1845) was the only grandson of J.S. Bach passages is rather startling—these are not pieces, at just under 200 bars each, but the to become a successful composer. He was misprints, as they also appear in the 1943 task of sustaining the musical argument the son of Johann Christoph Friedrich edition. The middle section is something without accompaniment will be a particu- Bach and was known as the “Bückeburger of a mini-Classical-period development, larly intriguing challenge to experienced Bach.” It is believed that W.F.E. Bach was wandering around keys with the use of performers, who will be those best the last of the musical members of the secondary dominants until being led back equipped to take on this music. Bach family. He retired in 1811, and his to D minor by an Italian sixth chord (one The Duos of Heinrich Simrock (of the soon forgotten musical compositions in- of the three varieties of augmented sixth famous publishing family) are altogether cluded keyboard works, chamber works, chords). There is a five-bar codetta that more modest in scope. Although the orchestral works and vocal compositions. surprises the listener with unprepared dis- pieces contain some vigorous 16th-note However, Ulrich Leisinger, in the on- sonances on strong beats. This movement motion, intermediate performers will find line Grove dictionary, claims that Wilhelm features a bass part that becomes very them quite approachable. Comprising Friedemann Bach (J. S. Bach’s son), rather active when the two upper parts run in principally short dances or character than W.F.E. Bach, “was almost certainly” parallel thirds or sixths. pieces, these duets are of equal interest for the composer of the piece reviewed here, Movement four is a “Presto” that each player and are full of articulation originally the Trio in G major for two flutes returns to F major. It opens up with a live- markings that will help players make the and viola. Although scholars are not 100% ly theme that is decorated by octave most of Simrock’s inventive textures. sure which member of the Bach family jumps. This movement also features some The seven duos included here are from actually composed the original piece, this really delightful voice crossing passages an original set of 12, and it is hoped that arrangement for recorders is successful, between the alto and tenor recorder parts. the other five also will be republished and I warmly welcome it into the recorder The overall texture of all four move- soon. Some of the individual titles are trio repertoire. ments is strongly contrapuntal. Although rather mysterious, such as Duo de la Capri- I was fortunate to locate a copy of it seems predominantly Baroque, it also ciosa par Martini or Kölsperger ou Walzer the1943 Bärenreiter edition for two flutes has a curious blend of Renaissance, Alsacienne, and a brief explanation of the and viola, edited by Rolf Ermeler, in the Classical and modern techniques— references would have been welcome. original key of G major. Thus I was able to Renaissance voice crossing, Baroque treat- All three editions are printed attractive- play through the piece in its original ment of dissonance, Classical slower har- ly and carefully (though some passages in scoring as well as in this new arrangement monic rhythm, and modern unprepared the Krähmer have the note heads slightly for recorders, which is transposed down to dissonances on strong beats. The bass part misaligned with the staves), and consider- the key of F major to better suit the range is an interesting blend between harmonic ation has been given to practical matters of the ATB recorders. A measure-by- support and bursts of scalar activity. such as page turns. Anyone interested in measure comparison with the 1943 edi- This is a delightful piece to add to the 19th-century repertoire would enjoy tion shows that Herrmann was very faith- recorder trio repertoire. I believe that up- making the acquaintance of any of these ful to the earlier edition. Both versions are per intermediate players could master it. three editions. quite attractive and entertaining to play. Sue Groskreutz Scott Paterson The first movement is marked “Larghetto cantabile.” It features a lovely COMPLETE INSTRUMENTAL MUSIC, texture of dissonances and resolutions VOL. I: 13 RICERCARI (1551), BY built into rising and falling sequential pat- ADRIAN WILLAERT. London Pro terns. The harmonies are Classical, and Musica Edition LPM IM16 there are two instances of augmented (Magnamusic), 2004. ATB (STB). sixth chords (chords including both a Sc 40 pp, pts 16 pp ea. $15.25. raised fourth scale degree and lowered COMPLETE INSTRUMENTAL MUSIC, sixth scale degree, which both want to VOLUME II: 4 RICERCARI (1551), BY Honeysuckle Music resolve to the dominant chord). While the ADRIAN WILLAERT. London Pro Musica ascending sequences tend to be imitative LPM IM17 (Magnamusic), 2004. ATTB Recorders & accessories between the two upper voices, the (STTB). Sc 16 pp, pts 8 pp ea. $15.25. ... descending sequences consist of question In spite of Adrian Willaert’s stellar and answer motives. reputation as a composer during and Music for recorders & viols Movement two is a delightful “Allegro,” immediately after his lifetime, little is still in F major. It opens as a fugue between heard of his music these days. There are Jean Allison Olson the two top voices; the bass plays motives few readily available performing editions 1604 Portland Ave. from the fugal subject, but never really and even fewer recordings. Willaert is St. Paul, MN 55104 gets involved with the subject as a third relegated nearly to a footnote in musical 651.644.8545 fugal voice. Notable are episodes where history—which is a shame, given the high [email protected] the top two voices play descending chains quality of the ricercari found in these wel- of major/minor seconds resolving to come editions from London Pro Musica.
42 American Recorder Willaert (c.1490-1562) was one of the This is very high quality music. Of the most respected, and—according to his two editions, the three-part ricercari have Bonzanini’s music is not pupil Gioseffo Zarlino—revered a bit more substance, but all the pieces are the type of stylized dance composers of his day. Like Josquin well worth exploring. In the preface to the Desprès, he came from the Netherlands, three-part editions, editor Bernard music to be found in the probably from Bruges. As a young man, he Thomas cautions against trying to read northern European traveled to Paris to study law, but ended through these pieces, and immediately up studying music with Jean Mouton, going on to the next. He is absolutely right. collections published then a member of the retinue of Louis XII. Our ensemble has lived with these pieces by Thomas Simpson As an example of Willaert’s early talent, for several months, and they do reward Zarlino wrote that when Willaert was visit- repeated visits. We have tried them in a or William Brade. ing the papal chapel during the pontificate variety of instrumentations (recorders, of Leo X, he found the singers performing cornetto and sackbuts, and viols), all with too irregular to expect that people would his six-part motet Verbum bonum et suave. great success. have actually danced to this music. The singers thought the motet was by This edition, like all London Pro Bonzanini’s music is not the type of Josquin Desprès, but upon learning that Musica editions, is well laid-out for the stylized dance music to be found in the its composer was the young Willaert, they practicing musician. There are no northern European collections published no longer wished to perform it. annoying page turns, and the notes in the by Thomas Simpson or William Brade. Eventually, Willaert landed the coveted parts are large enough to be easily seen Interestingly, with the exception of the position of maestro di cappella at San even in low light situations. opening “Sinfonia prima Francesca,” all Marco in Venice. It is a sign of the great This is not easy music. Best results will pieces are in triple meter with a smattering respect in which Willaert was held that the come from upper intermediate ensembles of hemiola thrown in for good measure. doge Andrea Gritti intervened personally and above. The musical challenges of So while the use to which Bonzanini’s with the procurators of San Marco in order Willaert’s music are chiefly in his very music was put remains a bit of a mystery, to secure the position for Willaert. subtle phrasing and in the stamina of it is undeniable that it is great fun to play. For this post he was paid a sum of 200 the players, since these are long pieces. All pieces fit nicely on SATB recorders, ducats, making him the highest paid but “Sinfonia prima Francesca,” for musician in Europe. His many pupils SINFONIE E GAGLIARDE FROM instance, needs a better presence on the included some of the most recognized CAPRICCI MUSICALI (1616), BY canto line than a standard Baroque names in Renaissance music of the mid to GIACOMO BONZANINI. London Pro soprano recorder can produce. In this late 16th century: e.g., Cipriano de Rore, Musica LPM TM22 (Magnamusic), 1981 case, an alto recorder read up an octave Baldassare Donato, Costanzo Porta and (reprinted 2004). SATB (ATTB) 4 Sc, would work better if Renaissance Jacques Buus. 12 pp ea. $9.75. recorders are not available. Willaert is generally credited with Giacomo Bonzanini is one of many This edition is a reprint of a 1981 print, introducing the technique of cori spezzati, shadowy Renaissance figures about whom with a difference: the original had only one or split choirs. This technique made use of we know next to nothing. He published score; if an ensemble wanted to play the physically separated choirs and reached but one book, in 1616: Capricci Musicali 1981 edition, they either had to buy its culmination in the music of Giovanni per Cantare, e suonare a Quattro voc Di three additional copies or make illegal Gabrieli in the early 17th century. Giacomo Bonzanini Mantovano; it is from photocopies. Now, with this and other The present edition separates the this book that these pieces are taken. The reprinted editions, London Pro Musica is instrumental music into two volumes, title implies that Bonzanini came from following the successful model of its Early with the three-part pieces in Volume I and Mantua. The editor, Bernard Thomas, sees Music Library, where individual scores are the four-part pieces in Volume II. It is similarities between the pieces in this included in an amount commensurate unknown what, if any, instruments publication and those of another with the number of parts. This thoughtful Willaert himself intended for this music. renowned Mantuan, Salamone Rossi. and considerate gesture is certain to The title page is no help, since it gives At first glance, these pieces seem to be bring more players to music that might the standard Renaissance disclaimer quite straightforward, since the parts otherwise be neglected. that these pieces could be sung or mostly move homophonically. But a quick These pieces are suitable for ensembles played on any variety of instruments. reading of them reveals that they are unex- of all levels. Low-intermediate groups will It is not out of the realm of possibility pectedly rich. The titles lead one to expect find mastering the rhythms and hemiola to play them on harpsichord or organ. The simple dance pieces, but the strains are instructive. Other groups will find the ricercar (literally, “research”) is a purely phrasing and built-in repeats interesting abstract contrapuntal composition, KEY: rec=recorder; S’o=sopranino; S=soprano; to interpret. All ensembles will benefit a forerunner of the fugue. A=alto; T=tenor; B=bass; gB=great bass; from surveying this long neglected music. The four-part ricercari are more diffi- cB= contra bass; Tr=treble; qrt=quartet; Frank Cone cult to play on recorders without resorting pf=piano; fwd=foreword; opt=optional; fi to transposition, since the first three perc=percussion; pp=pages; sc=score; ne editions of early & contemporary music pt(s)=part(s); kbd=keyboard; bc=basso con- PRB PRODUCTIONS pieces take the cantus line from a low A to tinuo; hc=harpsichord; P&H=postage and a high F. On a Baroque alto, the effect is a Peralta Avenue, Albany, CA handling. Multiple reviews by one reviewer are Phone: -- Fax: -- followed by that reviewer’s name. Please submit bit screechy; these work better on E-mail: [email protected] Renaissance recorders. There are no such music for review to: Constance M. Primus, Box 608, 1097 Main St., Georgetown, CO 80444. Web: www.prbmusic.com problems with the three-part pieces.
November 2005 43 STATEMENT OF OWNERSHIP, MANAGEMENT AND CIRCULATION (Required by 39 U.S.C. 3685) CONSIDER ADVERTISING IN 1. Publication title: American Recorder. 2. Publica- CLASSIFIED tion No. 0003-0724. 3. Filing date: September 12, ______2005 4. Issue frequency: Bi-monthly except ______summer. 4. No. of issues published annually: five. ______6. Annual subscription price: $32. 7. Complete ______mailing address of known office of publication: ______American Recorder Society, 1129 Ruth Drive, Full page ...... $565 St. Louis, MO 63122-1019. Contact Person: Kathy 2/3 page ...... $420 Sherrick. Telephone: 314-966-4082. 8. Complete 1/2 page ...... $345 mailing address of the headquarters of general busi- 1/3 page ...... $270 ness offices of the publisher: same. 9. Full names and complete mailing address of publisher, editor, 1/4 page ...... $210 and managing editor: Publisher: American Recorder Where the haves 1/6 page ...... $165 Society, 1129 Ruth Drive, St. Louis, MO 63122- 1/8 page ...... $120 1019. Editor: Gail Nickless, 7770 South High Street, and have-nots 1/12 page...... $ 90 Centennial, CO 80122. Managing Editor: same. 1 column inch ...... $ 55 10. Owner: American Recorder Society, 1129 Ruth of the recorder world Drive, St. Louis, MO 63122. 11. Known bondhold- can find each other Prices include web site/e-mail link directly from ers, mortgagees. and other security holders owning your ad in AR On-line,
44 American Recorder