November 2009 Published by the American Recorder Society, Vol

November 2009 Published by the American Recorder Society, Vol. L, No. 5 • www.americanrecorder.org

NEW!

Enjoy the recorder Denner great bass Mollenhauer & Friedrich von Huene

“The Canta great bass is very intuitive to play, making it ideal for use in recorder “The new Mollenhauer Denner orchestras and can be great bass is captivating with recommended .” its round, solid sound, stable in every register. Its key mechanism Dietrich Schnabel is comfortable and especially (conductor of recor- well designed for small hands. An der orchestras) instrument highly recommended for both ensemble and orchestral playing.”

Daniel Koschitzky Canta knick great bass (member of the ensemble Spark) Mollenhauer & Friedrich von Huene

G# and Eb keys enable

larger finger holes

and thus an especially

stable sound.

The recorder case with many extras With adjustable support spike … saves an incredible amount of space with the two-part middle joint … place for music

… integrated recorder stand Order-No. 2646K Order-No. 5606 www.mollenhauer.com Hot off the Press & Back in Print "These arrangements of dances from Playford s The Dancing Master, which appeared in 18 different editions from 1651 to around 1725, are intended primarily for playing to dancers. Those of us who have been involved in dance events will be familiar with the experience of having to cobble together versions of these tunes for the band at short notice, and it is hoped that this volume should reduce the consumption of midnight oil." – Bernard Thomas

Available now in two huge volumes after almost a half century of absence, this collection is packed with all the Playford dances we know and love and finally arranged for recorder quartets.

Playford Dances, Volume I, 68 NNOOTTEEWWOORRTTHHYY Playford Dances, Volume II, 82 Dances Dances SATB Recorders, 41 page score SATB Recorders, 47 page score Item DOL0102 NNEEWWSS Item DOL0103 $13.25 ffrroommyyoouurrffrriiieennddssaatt $13.25 MMaaggnnaammuussiicc

0DJQDPXVLF'LVWULEXWRUV,QF ORDER TOLL FREE: (888) 665-2721 Paisible: Five Sonatas TEL: (860) 364-5431 FAX: (860) 364-5168 Widmann: 20 dances from For alto recorder and continuo Email: [email protected] 34 page score and parts Musicalischer Tugendtspiegel, 1613 This is the first volume of a complete For Recorder Quartet edition of Paisible's music for recorder, Shop Online at magnamusic.com Item LPMGM10 by Marianne Mezger, who has made a Search or browse our inventory of over 10,000 pieces for $8.75 special study of recorder music in recorder and more, and don't forget our hundreds of England around 1700. This volume recorder models and all the accessories and maintenance includes a substantial introduction and supplies you need. critical commentary. Item DOL0250 $24.50 Don’t forget to mention you’re an ARS member and get a 10% discount! Available soon… Adrian Brown: The Recorder - A Basic Workshop Manual Second Edition The favourite and indispensible handbook for recorder players, this newly revised edition not only tells you how to keep your instrument in the best condition, but also how to make repairs and even has a section on tuning! Decades of experience has poured into this from one of Europes leading recorder makers. Item DOL0112, $19 Editor’s Note ______Volume L, Number 5 November 2009 ighlighted in this issue is what might Features Hbe considered the fifth installment in Portrait of a Recorder Player for all Seasons: Frances Feldon’s jazz/pop interview LaNoue Davenport (1922-99) ...... 8 series (page 8)—except that the “inter- by Frances Feldon view” is being published 10 years after the subject died. Instead, family members and AR@50: Excerpt from a 1989 interview friends of LaNoue Davenport filled in as 4 with LaNoue Davenport ...... 21 interviewees, providing background information to supplement what Frances knew by Ken Wollitz and Marcia Blue (from her years of studying with LaNoue) and what she could hear on recordings of some of LaNoue’s crossover music efforts. Departments The article is a fitting way to end a year Advertiser Index and Classifieds ...... 40 of anniversaries—the ARS’s 70th birthday and volume 50 of AR. With it is also a short Chapters & Consorts ...... 27 8 excerpt from an interview with LaNoue in Compact Disc Reviews ...... 24 1989 (the ARS50 year, on page 21). In her two most recent columns (on Five CDs, Medieval to Mozart page 3 in both this issue and September), Music Reviews ...... 32 ARS President Lisette Kielson has touched on what happens as the celebration President’s Message ...... 3 year winds down. A full-Board conference Nearing the end of the ARS’s 70th birthday year, call in December will certainly include dis- Lisette Kielson looks ahead to what’s next cussion of that question, along with con- 8 sideration of other ARS business. Response ...... 22 Meanwhile, at the grassroots level, Fixing a page turn; Adirondack Baroque Consort asks what’s next is likely that chapters continue for members’ memories as they approach an anniversary their recorder activities (page 27), workshops experience change (coincidentally year; Anthony Rowland–Jones’s last Lully article Frances Feldon’s retirement, page 7), and Tidings ...... 4 businesses entice us to buy instruments, music and CDs (pages 6, 24 and 32)—but Focus on Business Members; Frances Feldon retires after 20 years directing SFEMS Recorder Workshop; hopefully propelled forward with a renewed 28 enthusiasm starting in this milestone year. Flanders Recorder Quartet Gail Nickless

GAIL NICKLESS, EDITOR ON THE COVER: CONTRIBUTING EDITORS “Serenade in Blues” TOM BICKLEY, COMPACT DISC REVIEWS • FRANCES BLAKER, BEGINNERS & TECHNIQUE TIMOTHY BROEGE, 20TH/21ST-CENTURY PERFORMANCE • CAROLYN PESKIN, Q & A by Ethan Haynes, CONSTANCE M. PRIMUS, MUSIC REVIEWS • MARY HALVERSON WALDO, EDUCATION ethanhaynes@

ALABAMA HAWAII Rochester: Liz Seely (585-473-1463) Rockland: Jacqueline Mirando Alabama Recorder Assoc.: Jennifer Hawaii: Irene Sakimoto (808-734-5909) (845-624-2150) Garthwaite (256-586-9003) Big Island: Roger Baldwin Westchester: Birmingham: (808-935-2306) Erica Babad (914-769-5236) Janice Williams (205-870-7443) West Hawaii Recorders: Marilyn Bernhardt (808-882-7251) NORTH CAROLINA AMERICAN ARIZONA IDAHO Carolina Mountains: RECORDER Desert Pipes (Phoenix): Carol Markey (828-884-4304) George Gunnels (480-706-6271) Les Bois (Boise): Aage Nielsen Triangle: Mary McKinney Arizona Central Highlands (208-841-2691) (919-489-2292) SOCIETY (Prescott): Georgeanne Hanna ILLINOIS inc. (928-775-5856) OHIO Tucson: Scott Mason (520-721-0846) Chicago: Mark Dawson (773-334-6376) Greater Cleveland: Chicago–West Suburban: Laura Honorary President ARKANSAS Edith Yerger (440-826-0716) Sanborn–Kuhlman (630-462-5427) Toledo: Marilyn Perlmutter Aeolus Konsort: Erich Katz (1900-1973) LOUISIANA (419-531-6259) Honorary Vice President Don Wold (501-666-2787) Bella Vista: Barbara McCoy Baton Rouge: OREGON Winifred Jaeger (479-855-6477) Cody Sibley (225-505-0633) Eugene: Lynne Coates New Orleans: CALIFORNIA (541-345-5235) Statement of Purpose Victoria Blanchard (504-861-4289) Oregon Coast: Corlu Collier Central Coast: Margery Seid & David Kemp (504-897-6162) (541-265-5910) The mission of the American Recorder Society is (805-474-8538) MARYLAND Portland: Zoë Tokar (971-325-1060) to promote the recorder and its music by East Bay: Susan Jaffe (510-482-4993) Northern Maryland: PENNSYLVANIA developing resources and standards to help Richard Spittel (410-242-3395) people of all ages and ability levels to play and Inland Riverside: Greg Taber Bloomsburg Early Music Ens.: (951-683-8744) MASSACHUSETTS Susan Brook (570-784-8363) study the recorder, presenting the instrument to Monterey Bay: LouAnn Hofman Boston: Justin Godoy Erie: Linda McWilliams new constituencies, encouraging increased career (831-439-0809) (781-507-4891) (814-868-3059) opportunities for professional recorder North Coast: Kathleen Recorders/Early Music Philadelphia: performers and teachers, and enabling and Kinkela-Love (707-822-8835) Metro-West Boston: Sheila Vincent Hurtubise (215-438-6409) Orange County: Lois Sheppard Pittsburgh: Helen Thornton supporting recorder playing as a shared social Beardslee (978-264-0584) (562-431-0454) & Worcester Hills: Doug Bittner (412-781-6321) experience. Besides this journal, ARS publishes Rayma Zack (949-624-3448) (508-852-6877) RHODE ISLAND a newsletter, a personal study program, a Redding: Kay Hettich (530-241-8107) MICHIGAN Rhode Island: directory, and special musical editions. Society Sacramento: Mark Schiffer Ann Arbor: David Bojar (401-944-3395) members gather and play together at chapter (916-685-7684) Annabel Griffiths (734-213-3172) TENNESSEE San Diego County: Harvey meetings, weekend and summer workshops, and Kalamazoo: Charles Vreeland Greater Knoxville: many ARS-sponsored events throughout Winokur (619-334-1993) (269-342-8069) San Francisco: Dana Vinicoff Ann Stierli (865-637-6179) Metropolitan Detroit: Claudia Nashville: the year. In 2009, the Society enters its (415-908-3258) Novitzsky (248-548-5668) eighth decade of service to its constituents. Sonoma County: Janet Epstein (615-297-2546) Northwinds Recorder Society: Southern Middle Tennessee Dale Jewell (707-874-9524) Janet Smith (231-347-1056) South Bay: (Tullahoma): Vicki Collinsworth Board of Directors Western Michigan: Jocelyn Shaw (931-607-9072) Liz Brownell (408-358-0878) ( 231-744-8248) Lisette Kielson, President Southern California: TEXAS MINNESOTA Laura Sanborn–Kuhlman, Jerry Cotts (310-453-6004) & Austin: Marianne Weiss Kim Vice President; Fundraising Chair Juanita Davis (310-390-2378) Twin Cities: Sue Silver (651-697-7080) (512-795-9869) Marilyn Perlmutter, Secretary; COLORADO MISSOURI Dallas: Jack Waller Scholarship Chair Boulder: Mike Emptage St. Louis: (972-669-1209) Rio Grande: Martin Winkler Cathy Emptage, Treasurer; (970-667-3929) Kathy Sherrick (314-822-2594) Colorado Springs: Janet Howbert (575-523-0793) Finance Chair NEVADA (719-632-6465) UTAH Matthew Ross, Assistant Secretary; Denver: Dick Munz (303-286-7909) Sierra Early Music Society: Kay Judson (775-322-3990) Utah (Salt Lake): Mary Johnson Membership Co-Chair Fort Collins: Sherry Pomering (801-272-9015) (970-484-0305) NEW HAMPSHIRE Bonnie Kelly, Assistant Treasurer; VERMONT Early Music Society of Western CO: Monadnock: Chapters & Consort Chair; Special Bev Jackson (970-257-1692) Monadnock: Events/Professional Outreach Co-Chair Kristine Schramel (413-648-9916) CONNECTICUT & Lynn Herzog (802-254-1223) Kristine Schramel (413-648-9916) Letitia Berlin, Special Events/ & Lynn Herzog (802-254-1223) Connecticut: Elise Jaeger NEW JERSEY Professional Outreach Co-Chair VIRGINIA (203-792-5606) Bergen County: Mark Davenport, Education Co-Chair Eastern Connecticut: Mary Comins (201-489-5695) Northern Virginia: Susan Richter, Marie–Louise Smith Joyce Goldberg (860-442-8490) Highland Park: Donna Messer Edward Friedler (703-425-1324) Leslie Timmons, Education Co-Chair DISTRICT OF COLUMBIA (732-828-7421) Shenandoah (Charlottesville): Navesink: Lori Goldschmidt Gary Porter (434-284-2995) Mary Halverson Waldo, Publications Chair Washington: Art Jacobson Tidewater (Williamsburg): (301-983-1310) (732-922-2750) Princeton: Vicki H. Hall (757-565-2773) Nancy Weissman, Counsel DELAWARE Louise Witonsky (609-924-2752) WASHINGTON Brandywine: Roger Matsumoto NEW MEXICO Moss Bay: (302-731-1430) Staff Albuquerque: Bryan Bingham Ralph Lusher (425-275-6777) Kathy Sherrick, Administrative Director FLORIDA (505-299-0052) Seattle: Ruth Pattison 1129 Ruth Drive Ft. Myers: Sue Groskreutz Las Vegas (Flat & Baroque in Las (206-525-9878) St. Louis, MO 63122-1019 U.S. (239-267-1752) Vegas): Tom Curtis (505-454-4232) WISCONSIN Gainesville: Peter Bushnell Rio Grande: Martin Winkler 800-491-9588 toll free Milwaukee: Carole Goodfellow (352-376-4390) (575-523-0793) (262-763-8992) 314-966-4082 phone Largo/St. Petersburg: Santa Fe: Gus Winter Southern Wisconsin: 314-966-4649 fax Elizabeth Snedeker (727-596-7813) (505-603-8034) Marilyn Oberst (608-836-0269) [email protected] Miami: Phyllis Hoar (305-385-5386) NEW YORK Palm Beach: Gail Hershkowitz CANADA www.AmericanRecorder.org (561-732-5985) Buffalo: Mark Jay (716-649-1127) Montréal: Mary McCutcheon Sarasota: Margaret Boehm Hudson Mohawk: (514-271-6650) (941-761-1318) Darleen Koreman (518-482-6023) Toronto: Sharon Geens (416-699-0517) In accordance with the Internal Revenue Service Long Island: Taxpayer Bill of Rights 2, passed by the United States GEORGIA Barbara Zotz (631-421-0039) Congress in 1996, the American Recorder Society makes Please contact the ARS office Atlanta: New York City: Gene Murrow to update chapter listings. freely available through its office financial and Mickey Gillmor (404-872-0166) (646-342-8145) incorporation documents complying with that regulation.

6 November 2009 American Recorder President’s Message ______Greetings from Lisette Kielson, ARS President [email protected]

he fall season, with summer's end have taken place in which the com- Tand a new school year just star- mittee explored and discussed several What do we ting, has always represented for me a issues on which we’d like to focus. time of energy—new ideas and pro- The fun part of the initial stages struggle with now ductivity. I always like to be working of any strategic planning is that you that a more successful on something, some project that keeps get to “think big.” Limitations and me thinking and growing. With the obstacles are gladly ignored until ARS does not? celebratory 70th-anniversary Festival another stage. and Conference behind us and still We asked a lot of questions. does money play a part for potential very fresh in our minds, I’m ready to What are our goals? What are our members? Is it like the chicken and the ask the question: What now? What’s priorities? Nancy, I think, put it so egg: the case that more money will next? What new important project well: What is a successful ARS? What improve membership, publicity and shall be entered into and tackled? do we struggle with now that a more branding, or that more membership, The answer: collaboration with successful ARS does not? publicity and branding will produce the Business Volunteers for the Arts And eventually: What are our more money? (BVA) to bring the ARS to the next challenges? What can we do? Such questions and issues will level. We know that we want (and continue to be addressed among the This has been a long time coming. need!) more money and more mem- Marketing Committee, the Board, and Past President Alan Karass brought bers (new and retained). We want the BVA. I am extremely excited and the possibility of working with the recognition for the organization, committed to this long range project. BVA to the board several years ago. renown, and an improved image of the I believe strongly in it and that the We jumped at the idea, excited recorder. We want to build the status future of the ARS depends on about the possibilities and of the instrument, and both encourage pursuing this next step. long-term ramifications. and provide resources for playing and Alan’s idea has progressed to the learning the recorder. We need to next step. We have been assigned a spread the word! volunteer (Kenton Shirk) from the We’re aware that people don’t Recorder BVA, and have formed a Marketing know about the ARS and that chapters Lessons Committee (Alan Karass, ARS legal have the same issue. Alan shared with in your counsel Nancy Weissman, Bonnie us a case of two recorder players in Kelly, Marilyn Perlmutter, Kathy Boston (MA) who didn’t know for own Sherrick and me, with Chapter 12 years that the ARS (or chapters) home Liaisons Laura Sanborn–Kuhlman existed. and Matt Ross as consultants) to work Is it a branding issue? Do we directly with him. Conference calls need an ad campaign? How much www.PatrickRecorder.com

www.nicholaswww.nicholas---wynne.co.ukwynne.co.uk Original sheet music for recorders and a variety of other instruments. Instantly available as pdf downloads or as hard copies by post

www.AmericanRecorder.org November 2009 7 Tidings ______Frances Feldon leaves the SFEMS Recorder Workshop, ______Flanders Recorder Quartet, new works from New York City FRQ MAKES BARN DEBUT with the instruments and a row of wine Jan van der Roose (b. 1956). The bottles, all partly filled with water (the players imitated bird calls, rolled By Patricia Grimes, Florida and Canada players said that these bottles were the letter “R” while playing, and from their own stocks). Although the drummed with fingers on recorders. On June 19, my husband and I saw a players did not always play with a The three sections are South America flyer in Stratford, ON, where we were matched set of recorders, the sound (STBgB), then Oceania (SBgBcB), visiting to see a few plays, about the was balanced and achieved a perfect where the bass recorderist removed the Grand River Baroque Festival. It blend. The “menu” was as follows. mouthpiece and used it to make bird was being held that weekend in Ayr, French aperitif: Sonate en Qua- and percussion sounds. In the closing not far away. A Saturday afternoon tuor by Louis–Antoine Dornel (1684- Africa section, the bass recorderist concert was entitled “Banchetto 1765) has slow/ fast/ slow movements blew into the recorder while covering Musicale” and featured the Flanders without break. Played on AATgB, the the fipple, to mimic African instru- Recorder Quartet (FRQ). articulation was clear and varied. ments. Percussion included a drum, The concert was held in Buehlow Italian antipasto: Canzon la and players stamping their feet and Barn. We drove down a narrow dirt Marcha–Canzon la Livia by Merula slapping their knees. road with woods on either side, across (1595-1665), played on matching Dessert 1: On the Bottles (2002), the barnyard and wet grass to get to Renaissance recorders. dedicated to FRQ by Belgian com- the barn. Huge and unlike any barn I Sorbet: Concerto in A minor, poser Frans Geysen (b. 1936). Each had ever seen, with vertical and hori- BWV596, by Bach, arranged from the player blows into two bottles, each zontal support beams, its roof is about organ version by Bach and the orches- partly filled with water and tuned to a 50 feet high. The carpet floor is likely tral version by Vivaldi. The solo part specific note. The piece has a mirror over dirt because it was so uneven. was played on tenor recorder, with the structure, described as a pair of rabbits We found out that it is on private other recorders playing the violin multiplying, so that notes are in property, and that it was converted parts, alternating continuo and orches- groups of 3, 5, 8, 13, etc. (My under- from a working barn to a concert hall. tral parts. The Largo movement was a standing of music is greater than my Wooden “chandeliers” hang from the lovely alto solo with accompaniment. understanding of math and rabbits, high ceiling to light the barn, which The whole was seamless, sounding as so I’ll take them at their word.) Only has no windows. Because the ceiling is if it were composed this way. four notes were played at one time, so high, the acoustics are fantastic. Specialty of the House: Suite with a most fascinating result. The barn has room enough for for Pipes (1939) by Ralph Vaughan Dessert 2: La Manfredina–La about 200 persons. A stage was set up, Williams (1872-1958), composed for Rotta della Manfredina (c.1400), by bamboo pipes but played on Czaldy Waldy, arranged by FRQ for SATB recorders. A very recorders and drum— including a flowing and lyrical piece, solo imitating African drumming. with interesting harmonies Of course, there were encores: that are not dissonant, it had first, a medley of tunes from the opera several solo “riffs”— just the Carmen, in which there were times that kind of piece that we all like each instrument was playing a differ- to hear and play. ent melody in a different key; then the Le coup de cœur du rollicking Circus Renz by G. Peter. chef de cuisine: A contem- This was FRQ’s second tour of porary piece (2002) using Canada this year. This festival was modern techniques, I Conti- very lucky to get them—in the rain, Patricia Grimes and FRQ, backstage nenti is dedicated to FRQ by and in a barn!

8 November 2009 American Recorder RECORDERS IN NEW YORK CITY Bits & Pieces

By Anita Randolfi, New York City, NY

On May 3, the Frick Collection was the site of a program offered by Tempesta The third Boston Early Music di Mare, a Baroque ensemble from Philadelphia, PA. Gwyn Roberts was kept Festival (BEMF) CD—Lully’s busy playing recorder in works by A. Scarlatti, Corelli, Castello and Marcello. Psyché from the 2007 Festival, released Her playing was straightforward and intelligent, as was that of the whole group. in July 2008—has earned BEMF The Music at Morris–Jumel series presented a “Baroque Wind Trio a third Grammy nomination in the Extravaganza” on June 6, played by Gregory Bynum, recorder; Andrew Best Opera category. Bolotowsky, Baroque flute; and Paula Rand, Baroque bassoon. Much of At the 2005 Festival, BEMF the program came from the continuo literature, but was played without chordal released its first commercial opera realization. This is a refreshing idea: it reveals the melodic, contrapuntal nature recording featuring the 2003 operatic of the bass line that is sometimes obscured by chordal realization alone. centerpiece, Conradi’s Ariadne. An Besides continuo pieces by Sammartini, Vivaldi, Telemann and Purcell, audience and critical success, this there was an enjoyable playing of the Sonata for two treble instruments, No.4 in G recording marked the beginning of minor by Telemann, here played on alto recorder and flute. However, the piece BEMF’s outstanding contribution to I enjoyed most was the F.J. Haydn London Trio No.1 in C Major. Not the current opera discography. Con- everything this trio attempted was perfectly executed, but I hope they continue radi’s Ariadne was followed by Lully’s their efforts. They have an interesting and engaging approach to this repertory. Thésée, the 2001 centerpiece; both I also want to mention two concerts in which I played. On April 24 Chelsea recordings received Grammy nomina- Winds gave a program of Renaissance and 20th-century music at the General tions in the Best Opera category. Theological Seminary chapel. There were dances a5 by Holborne and works a3 In September, Early Music from Ein Altes Spielbuch; 20th-century pieces were Idyllwild Suite a4 by Andrew America (EMA) published a new Charlton, Russell Woolen’s Sonatina a3, and Peter Warlock’s Capriole Suite a5. Touring Ensembles Roster of early The Manhattan Recorder Orchestra (MRO), Matthias Maute, conduc- music ensembles in North America. tor, presented a wide-ranging program on April 29 at Holy Apostles Church. Existing as both an online database I particularly want to mention a new work by Charles Gamble, an orchestra (www.earlymusic.org/rostersearch) member who has previously composed music for MRO. Dial Tones (2009) is a and as a printed catalog, the roster is romp that draws on the vocabulary of the big swing bands. Larry Garges was intended as a tool for presenters and the hard-driving jazz improv soloist. This is a piece that other recorder orches- others interested in booking early tras might find attractive. E-mail [email protected] for the music. music ensembles for concert series I’m always pleased when current composers include the recorder in the and events. instrumentation of their new works, so I was delighted that John Adams The online version offers visitors composed parts for two recorders in his new opera, A Flowering Tree. Presented the ability to search by keyword, type as part of the Mostly Mozart Festival, it was performed at the Lincoln Center of music played, type of ensemble, Jazz Center Rose Concert Hall. The work was semi-staged; I heard the August fee range and state/province where 16 performance. Without benefit of seeing a score, it seems to me that Adams the ensemble is based. associated the recorder sound with scenes of transformation that the opera’s EMA received a 2009 National heroine undergoes. The sound was lovely, and clearly reached the upper level. Endowment for the Arts grant to Usually I limit my report to events that feature recorder—but because support professional development many recorder players also play viola da gamba, I want to mention a new piece services for early music artists, that I believe will make a wonderful addition to the gamba repertory. Composed including creation of this Touring by Debra Kaye for the Empire Viols and premiered by that group on May 29, Ensembles Roster. An independent it is titled The Beauty Way, a trio for treble, tenor and bass viols. It draws inspi- panel of three judges (all presenters) ration from the landscape and Native American traditions of the American reviewed applications for inclusion Southwest. Its extensive sections of strumming are particularly handsome. (In and selected ensembles to be listed. the interest of full disclosure, I should mention that Kaye and I are both faculty The printed version is current as members of the Mannes College of Music, New School University.) Readers of September 1, 2009. Information in can contact Kaye at [email protected] for performance materials. the online version is updated regularly.

www.AmericanRecorder.org November 2009 9 FOCUS ON ARS BUSINESS MEMBERS

AMERICAN ORFF-SCHULWERK HONEYSUCKLE MUSIC PRESCOTT WORKSHOP ASSOC. Jean Allison-Olson Thomas M. & Barbara C. Prescott Katharine Johnson, Executive Director 1604 Portland Ave, St. Paul, MN 55104 14 Grant Rd., Hanover NH 03755-6615 PO Box 391089, Cleveland, OH 44139-8089 651/644-8545 603/643-6442; Fax: 603/643-5219 440/543-5366; Fax: 440/543-2687 [email protected]; [email protected]; www.prescottworkshop.com [email protected]; www.aosa.org www.honeysucklemusic.com Prescott Workshop is devoted to making copies The American Orff-Schulwerk Association Carrying Yamaha, Aulos, Zen-on, Moeck, of historical woodwinds of the finest possible quality. (AOSA) is a professional organization of music and Kelhorn, Aura recorders as well as recorder method All instruments are personally made by master- movement educators dedicated to the creative books. Wide variety of recorder sheet music, craftsman Thomas M. Prescott, who founded teaching approach developed by Carl Orff and recorder music for large groups & recorder the workshop in 1974. Gunild Keetman. We are united by our belief that orchestras. Music arranged for recorder & other learning about music—learning to sing and play, to instruments. Accessories include recorder cases, PROVINCETOWN BOOKSHOP hear and understand, to move and create—should stands, wooden thumb rests and more. Also carry Joel Newman be an active and joyful experience. Our mission is: music for flutes, crumhorns, ocarina, tabor pipe, 246 Commercial St., Provincetown MA 02657 · to demonstrate the value of Orff Schulwerk and native flute, tin whistle, bodhran, guitar, strings, 508/487-9651; Fax: 508/487-3286 promote its widespread use fiddle, dulcimer, harp, reed, harmonica, bagpipe, Pioneering in recorder and viol music mail order · to support the professional development of our keyboard, dulcimer, voice and choral music. since the late 1950s. We also offer a list of almost members 50 editions of recorder ensemble music by Andrew · to provide a forum for the continued growth and LAZAR’S EARLY MUSIC Charlton, David Goldstein and Joel Newman. understanding of Orff Schulwerk that reflects Bill Lazar the diversity in contemporary American society. 425 N. Whisman Rd. #200 SWEET PIPES INC. Founded in 1968, AOSA membership has grown Mountain View, CA 94043 Jeanne Cox, Laura, Bob and Brett Bergin to include 5000 music educators, musicians and 866/511-2981 (toll free inside U.S.) 2300A Michigan Ct., Arlington TX 76016 related professionals. AOSA fosters the utilization or 408/734-4920; Fax: 408/705-1960 800/446-1067 or 817/277-9922 of the Orff Schulwerk approach through a vibrant [email protected]; http://lazarsearlymusic.com Fax: 800/576-7608 or 817/277-9933 professional development program that sponsors We sell Moeck, Mollenhauer, Küng, Yamaha, [email protected]; www.sweetpipes.com hundreds of workshops in 96 local AOSA chapters Paetzold Square bass, Dolmetsch, Ehlert handmade; Our goal and pledge is to present only the best across the U.S. each year and through more than Moeck early winds; Cíp gemshorns; optimized quality recorders, finest recorder publications for 60 certified Teacher Training programs across the crumhorns, Wendy Gillespie (Lu-Mi) & Charlie making music, and the fastest and most caring country. Ogle Chinese viols; Baroque strings and bows; service available in the industry. We continue on in Chris English and Louis Bégin viol bows; Puchalski the same tradition established by Gerry and Sonya CLARION ASSOCIATES, INC. vielles; music and accessories. Keys added, necks Burakoff, our founders. Publishers of recorder Anthony Richards bent (painless). Personal service and advice. Instru- materials for students, teachers, and performers; 35 Arkay Dr., Suite 400, Hauppage, NY 11788 ments gladly sent on approval. Very competitive method books, solos, ensembles, editions of early 800/VIV-ALDI; Fax: 631/435-4501 prices. music, miscellaneous recorder items, and Aulos [email protected]; www.clarionins.com and Yamaha quality plastic recorders. The largest insurance firm dedicated solely to the MAGNAMUSIC DISTRIBUTORS, INC. needs of musicians. 45% off for ARS members. Madeline Hunter, Tim Hunter TOYAMA MUSICAL 74 Amenia Union Rd., Sharon, CT 06069 INSTRUMENT CO., LTD. COURTLY MUSIC UNLIMITED, INC. 888/665-2721; Fax: 860/364-5168 Takamura Toyama (U.S. Agent: see Rhythm Band Richard and Elaine Henzler [email protected] Instruments, Inc.), 41, Oharacho, Itabashi-ku, 3785 Main Street, Warrensburg NY 12885-1665; www.magnamusic.com Tokyo 174 JAPAN 800/274-2443; 518/623-2867; Fax: 518/623-2869; Importer/distributor of recorders, shakuhachi. 81-3-3960-8305 [email protected]; Magnamusic holds one of the largest inventories of [email protected] www.courtlymusicunlimited.com early and contemporary sheet music available in the Toyama manufactures recorders under the Aulos Call us toll free for expert advice on selecting a U.S. & Canada. Free catalogs. Prompt, friendly brand, along with a broad line of elementary musical recorder and music for your particular needs. service. 10% Discount on purchases made by ARS instruments. Instruments are sent on approval (call for details). Members. We not only check-out each instrument but offer free VON HUENE WORKSHOP/ refinement of tuning on wooden recorders valued MOECK MUSIKINSTRUMENTE + EARLY MUSIC SHOP OF over $85.00. Visit our home page and click on VERLAG e.K. NEW ENGLAND “advice” for helpful hints on playing and practicing Sabine Haase–Moeck Eric Haas the recorder. If you would like more personal help, Lückenweg 4 D-29227 Celle GERMANY 65 Boylston St., Brookline MA 02445-7694 we teach private and group lessons both in 49-05141088530; Fax: 49-05141-885342 617/277-8690; Fax: 617/277-7217 Warrensburg, NY and New York City. Call for [email protected]; www.moeck.com [email protected]; www.vonHuene.com schedule and rates. Teachers, call for discounts and Family-owned enterprise in the third generation The Von Huene Workshop, Inc., founded in music and instruments. producing high end recorders and publishing 1960 by Friedrich and Ingeborg von Huene, makes, We carry Moeck, Mollenhauer, Yamaha, Zen-On recorder music, books on music and Tibia: Maga- sells, and repairs fine Renaissance and Baroque recorders, historical woodwinds, percussion and zine for Woodwind Players. Moeck organizes historical woodwinds. Its affiliate, the Early Music other folk instruments. Sheet music, method books, courses for recorder players and promotes the Shop of New England is a retail store and mail- fingering charts, thumbrests, books, humidifiers, recorder on a professional level by awarding prizes at order division of the Von Huene Workshop that sells note cards, tuners, cases, music clips, oil, cork the Moeck/SRP Recorder Playing Competition in recorders, flutes, reed instruments, early keyboards, grease, metronomes, recorder stands, anti- London, the Montreal International Recorder sheet music, and related items. We are happy to send condensation solution, music stands and swabs. Competition and others. instruments on approval for those players who wish Information supplied by to compare before making a commitment. Business Members responding

10 November 2009 American Recorder Frances Feldon retires from have been forged and ensembles have fellow enthusiasts living near them. SFEMS Recorder Workshop sprouted, some of which can only play But even those who do enjoy these together on an annual basis during this luxuries are eager to come and enjoy By Greta Haug-Hryciw, San Francisco, workshop week. the atmosphere that has developed CA, Recorder Workshop participant Frances developed the Recorder during Frances’s tenure. Workshop to offer classes featuring the During the 2009 workshop, there In 2008, after19 years as director of the entire Medieval-to-modern repertoire were lovely tributes to her years of San Francisco Early Music Society embraced by the recorder, including excellent organization and director- (SFEMS) Recorder Workshop, jazz, ethnic and crossover music, and ship. The finest was one that recorder Frances Feldon announced that 2009 the recorder orchestra. She also viewed orchestra director Norbert Kunst would be her final year in that post. technique classes for all levels as essen- arranged. Unbeknownst to her, a slide- The time, energy and effort she put tial, incorporating both technical and show presentation, featuring photos of into the job for two decades shows her musicianship components. Frances through the years, was love of and dedication not only to the Her policy of rotating local and assembled to be shown during the organization, but also to anyone who out-of-town faculty made as many fine performance at the end of the week. As has attended the workshop, whether as recorder teachers available as possible; she came into the chapel at St. Albert’s longtime participant or newcomer. She each year she included one teacher who Priory to be seated, her eyes lit on the always brought with her an atmosphere was new to the U.S. recorder work- screen above the orchestra, where she of welcome and calm, as well as cama- shop scene. Many participants com- beheld a photo of her very young self. raderie and just plain fun. She never mented that the Recorder Workshop is appeared to be flummoxed, flustered the best place to experience leaps of Interspersed between or panicked over the unexpected situa- improvement in musicianship, due pieces of music, two tions that often arise in a setting with a largely to Frances’s knack for drawing of the Dominican Friars population of diverse ages, dispositions outstanding faculty from across the read poems. and individual requirements. country, from among local musicians, Under Frances’s direction, the and even from overseas. Her look of surprise and delight was Recorder Workshop has flourished. Its For the last five years, Frances had truly gratifying to the entire orchestra. popularity is evidenced by the fact that as co-director Katherine Heater, who Interspersed between pieces of music, it is the first of the four SFEMS sum- also contributed greatly to the organi- two of the Dominican Friars read mer workshops to require a wait list. zation and to the smooth running of poems that had been selected for their When Dominican University this wonderful annual event. Katherine special meaning to Frances, reflecting became an untenable location for the commented, “Frances always blew me her love of music, nature and peace. workshop, Frances found St. Albert’s away with her total command of the Frances has graciously acknowl- Priory—a beautiful, peaceful setting, details of this operation. Having edged Eileen Hadidian and David accessible by public transportation, directed the Music Discovery Work- Barnett, the previous directors of the near Oakland’s Rockridge district shop for four years, I know how many SFEMS Recorder Workshop, for their shops and restaurants, and offering different directions a workshop direc- years of dedication and hard work, and affordable room and board. Although tor is pulled in. Yet Frances never particularly for their guidance and most workshops suffer some trauma seemed flustered, and as her assistant suggestions early in her tenure. when switching locations, Frances I always felt that my job was clearly SFEMS is equally grateful pulled off the change with complete defined and everyone else’s was too. I to Frances for her service, which ease and no loss of attendance. really looked forward to every planning includes her having been director of The Recorder Workshop has meeting we had, and as the workshop the SFEMS education program become a place to meet interesting would approach, I knew that we were as well as founding director of the people, professional and non-profes- going to have a good time because SFEMS Collegium Evenings. Thanks sional alike: lawyers, doctors, engi- Frances had everything in place.” to the groundwork she laid as director neers, entrepreneurs and philanthro- The Recorder Workshop has of the Recorder Workshop, the pists, mothers, fathers, travelers, young become an event offering a week of transition to new leadership will be and not so young, all of whom share a superb instruction and the opportunity much easier for Rotem Gilbert and great love for playing the recorder. to play with others, particularly for Hanneke van Proosdij, who together Over the years, lifelong friendships those who have neither teachers nor have taken up the mantle for 2010. www.AmericanRecorder.org November 2009 11 Portrait of a Recorder Player for all Seasons: LaNoue Davenport (1922-99) by Frances Feldon LaNoue Davenport died on November 4, information about his relationship with his With Martha Bixler, 1999. This article commemorates the father and the special time they shared Darius Davenport, Mark Davenport, 10-year anniversary of his death, as well making a seminal rock recording in the Sheila Schonbrun Davenport as volume 50 of American Recorder late ’60s. Darius is now a drug rehabili- and Bob Dorough and the ARS 70th anniversary. It is tation counselor for the Kaiser health care appropriate to mark these anniversaries organization in the California Bay Area. The author, who lives in Berkeley, together, since ARS is an organization that Sheila Schonbrun Davenport— CA, is a freelance musician LaNoue supported so enthusiastically. LaNoue’s widow, and an internationally in the San Francisco Bay Area. The material for this article combines recognized singer of early and contempo- She is music director of Flauti Diversi, about eight hours of taped conversation rary repertoire—helped immensely by a Baroque/contemporary chamber music from five different telephone interviews; supplying her recollections, insights and ensemble, and produces her own concert multiple e-mail conversations; listening important materials on the Duke series, "Baroque and Beyond." to folk, jazz and rock recordings that Ellington/Machaut concert programs of LaNoue participated in and analyzing Music for A While from the early ’80s. Ms. Feldon teaches recorder and their “audio” evidence; and many hours Ms. Schonbrun teaches voice at Fairleigh Baroque flute privately at her studio spent sifting through the oral and audio Dickinson University and Queensboro in Berkeley, and is a regular conductor materials to select and organize them Community College. She directs the and faculty member at recorder into a final cohesive form. Camby Singers and Rockland Camerata. workshops throughout North America. I’d especially like to acknowledge Bob Dorough, who was one of She successfully directed the San Francisco LaNoue’s son Mark Davenport for his LaNoue’s best friends, is a widely-known Early Music Society's Recorder Workshop invaluable assistance in completing this jazz pianist, singer, composer, arranger for nearly 20 years and just "retired" project. Mark is a performer on recorder and cabaret performer. He is best-known from that position. She also teaches the and other early woodwinds, ’cello and as the composer for the famous recorder program at Albany Adult School. piano; a songwriter as well as classical “Schoolhouse Rock” educational TV series and rock musician; and currently Associate from the 1970s-80s. Dorough is still an She has conducted her arrangements Professor in Early and American Music active cabaret performer and recording of Gershwin and Ellington classics at the at Regis University in Denver, CO. artist at the age of 86. I was privileged to international recorder festival "Les I am grateful to him for providing interview him on his recollections of Journées de la Flute à Bec" (Montréal special materials—his memories, LaNoue’s early days in New York City 2003) and at the International Congress insights, knowledge, and the photos and the important recording and concert of Recorder Orchestras (Holland 2004). accompanying the article—and for projects they participated on together. I got his help in reading and editing. to hear him perform his eccentric, humor- Ms. Feldon studied recorder and No less important are the contribu- ous and lithe cabaret act in August 2009 Baroque flute at Indiana University, tions of the other interviewees. LaNoue’s at Yoshi’s Jazz club in Oakland, CA! earning a doctorate in collegium directing. eldest son, Darius LaNoue Davenport— Martha Bixler studied recorder with She has taught at Indiana University, a former rock drummer, singer, key- LaNoue in the mid-’50s, and became a UC Davis and The Greenwood boardist, oboist, and, yes, recorder and performing and recording colleague in the School in Mill Valley, CA. krumhorn player—generously shared Manhattan Recorder Consort (MRC);

12 November 2009 American Recorder she enthusiastically agreed to an interview. (SLC) and is currently recording a aNoue Davenport was tall and Martha has been an active mainstay of the Sephardic music program with NYCV. L thin, with long silvery-white hair ARS for many years, as President and I met LaNoue in the summer of in his later years; his appearance as ARS Board member, and as editor of its 1971 at the first early music workshop dignified “hipster” lent him a com- Members’ Library. Martha lives and I ever attended in Idyllwild, CA. Largely manding presence. Family, friends, plays recorder and other instruments in because of LaNoue’s magnetism as a colleagues and former students New York City. She provided infor- teacher, I was an instant “convert” remember him with great fondness mation, materials, and her special to recorder and early music. and respect. knowledge and insights—about studying I withdrew from the music depart- He was founding director of the with LaNoue, and from her inside ment at UCLA and moved to New York Manhattan Recorder Consort (MRC) perspective as his MRC colleague. City to study with him the December in 1957, the first professional Ameri- Finally, thanks to Judith Davidoff following that auspicious workshop. I can recorder ensemble; and played —the eminent viola da gambist and subsequently received a full scholarship to with New York Pro Musica from performer on early strings, and founding attend SLC, where he was teaching, and 1953—assuming its directorship in member of Music for A While and the studied with him there from 1972-74, 1966 (after Noah Greenberg’s death) New York Consort of Viols (NYCV)— and again in 1978-80 in SLC’s early —until 1970. In 1971 he formed for conversation about the past and for music master’s degree program. the early music ensemble Music also providing material on the Duke LaNoue was one of my early for A While with singer Sheila Ellington/Machaut concert program. mentors: I think of him often and wish to Schonbrun, viola da gambist Judith Judith teaches at Sarah Lawrence College acknowledge in this article his profound Davidoff and lutenist Chris Williams. influence on my musical life and career. They initiated one of the first early music programs in the U.S. at Sarah Lawrence College the same year, and in 1975, a master’s degree program in early music at SLC, also one of the first. The first president of the ARS in 1960 (after its nonprofit incorporation), LaNoue received its Distin- guished Achievement Award in 1995. LaNoue’s career intersects with crucial figures and moments in the 20th-century revival of early music and recorder playing in North America. Although primarily a classical musician devoted to early music as a specialization, his background as a jazz trumpeter during his early career —and his gift of great musicianship and skillful ability to hear and render a wide variety of styles—enabled him to participate on a high level in popular styles as well. In this article, I use the term LaNoue Davenport plays popular music, or “pop” music, in its the bass recorder at Judith largest sense, including all kinds of Davidoff’s apartment in New folk, rock and jazz. The term has often York City (during a Music been used derogatorily to denote For A While rehearsal in 1971). lightweight “bubblegum” music. I Photo: Mark Davenport. mean to contrast pop music in its most generic sense with classical music.

www.AmericanRecorder.org November 2009 13 Making Music á la LaNoue music, particularly early dance suites, LaNoue Davenport’s activity in “The expressive sound would have all those cockamamie popular music—folk, jazz and rock— of an instrument was arrangements—and he would just sort creates a window into his music- of nod his head while the others in the making soul, and more universally, into huge to him.” group would be writing all these music-making in general. It is precisely directions down trying to get it right, because of the difference in perspective conviction, what he wanted to put and he rarely wrote anything down. allowed by approaching his career from across to people.” Sheila Schonbrun That comes from the jazz field where this unusual angle that I was able to see saw the importance of this in his you learn a jazz tune and then it’s in his important contributions to recorder playing as well: “[T]he skill and your head, and he used that experience playing most clearly. practice at improvising was front and and ability in early music. Likewise, he LaNoue made several pop center in his playing and in how he never wrote down improvisations.” recordings during his professional encouraged others to play. And he was Student and colleague Martha career. Listening to and thinking about always expressive.” Bixler was amazed by LaNoue’s these recordings within the context of Improvisation was another essen- improvisational abilities. “When we his life and creativity—and within the tial component of LaNoue’s personal played Handel together, the Adagios milieu of the larger artistic and even style of recorder playing. His back- were different every time…. LaNoue social culture at the time—highlights ground in jazz undoubtedly influenced was self-confident as a musician and his philosophy of musical his approach to early music perform- not afraid to take chances —and you expressiveness and community. ance and to recorder playing. Sheila certainly have to be brave to improvise Mark Davenport agrees. “The says that once she “asked him how his jazz. He did have a marvelous ear…. expressive sound of an instrument was jazz trumpet playing was and he told His way of being relaxed: I think you huge to him; it was really important to me, not too good—but his improv can’t be a good jazz musician unless him to play in an expressive way, to ideas were great, so we know some- you’re relaxed. He was just a terrific connect on an emotional level…. thing of his approach to early music improviser and musician.” LaNoue thought music and the from that: a perfect home for a fertile Now it is almost a cliché that early recorder, in general, should be mind.” music and jazz music are similar in expressive.” Jazz performance requires a highly their requirement for an improvisa- LaNoue always emphasized developed sense of musical memory, tional construct. But in the 1940s and playing expressively in my lessons, and musicianship and focus, and LaNoue ’50s, when LaNoue and others were encouraged me to develop my abilities was able to bring this ease with the pioneering the reconstruction of early to use rubato-like musical motion and professional requirements of any gig music in America, his jazz back- dynamics on the recorder—not an easy to bear in his music career. Mark ground, abilities and ingrained sense thing to do, as you may know—and observes that, unlike the classically of the need for an improvisational to always tell a story with the music, trained musicians around him on the sensibility enabled him to put his strongly supported by a beautiful New York City (NYC) early music stamp on the nascent early music sound. scene, “LaNoue rarely wrote anything scene and to help move it forward. Darius Davenport—who, like down on the music itself. Everybody Mark confirms this view. “The Mark, studied recorder with his father would have their pencils out—early jazz tradition of improvisation is so as a child, and of course has a unique similar [to early music], that was one perspective on LaNoue as a teacher— of the main attractions for him: two says, “LaNoue…had very strong different genres from different times ideas. As a person, as a human being, that had improvisatory performance he was very adaptable and able to practice in common.” maintain that balance of leader and “For example, with a Telemann member that is so delicate sometimes. Adagio, once he understood the genre He could scare people—he never it was easy for him. He was always meant to scare people—it was his memorizing.” Bob Dorough agrees. passion that he wanted people to “There’s a certain flexibility you get understand, and his frustration when it playing jazz and I think early music didn’t happen. It was all with deep was something beyond its notation; 14 November 2009 American Recorder it’s been transcribed and notated down technical capabilities. Mark elaborates, through the centuries, but there was “Sound was what he was known for. really no way to capture the music— At the time he was really known for his just like you can’t really put jazz on sound, people used a lot of vibrato… paper, it’s something that takes place in that was one of the things he was able the space and time. I believe that may to demonstrate and teach, that beauti- have given [LaNoue] a creative ful expressive sound. He helped to approach to interpreting early music. elevate the instrument as a professional In fact he might have been at odds instrument, and that carried through with [others] about it at times, as he whether he was playing folk or rock may have made a decision on his own or early music. The tone, the sound, based on his background.” and the expression were even more important to him than technique.” Singing as Sound Sheila pithily underscores LaNoue always approached recorder LaNoue’s pivotal role in elevating the playing with one paramount aesthetic level of professional recorder playing: ideal in his mind: play the recorder as “LaNoue inspired them all.” if you were singing. This is completely in keeping with all the early treatises “When I heard the we have on recorder playing, starting LaNoue Davenport, in an with Sylvestro di Ganassi’s Opera recorder played like undated photo from the intitulata Fontegara of 1535. His per- that—I have never, sonal style of recorder playing in the mid-1950s. Photo courtesy mid-twentieth century was soundly never heard anything like of Mark Davenport. based on historical precedence. that—I put my recorder The question of whether one when I heard the recorder played like should take a different approach with back in the case and that—I had never, never heard any- classical vs. pop music on the recorder didn’t play. I decided thing like that—I put my recorder is a natural one. Did LaNoue use a back in the case and didn’t play. I was different sound when playing pop right on the spot I had to so embarrassed. As you know, his tone music as opposed to early music? take lessons with him.” was so ravishing that I decided right on Mark says, “I don’t think so. The the spot I had to take lessons with him, difference is in how he’s playing rather I came to LaNoue as a classically- and I did. I imitated his sound and he than the sound he’s making. He talked trained modern flautist. He helped me was a very, very inspiring teacher… about imagining yourself as a singer to eschew my automatic modern flute LaNoue’s sound on the recorder was when he talked about creating sound vibrato for a vibrato on the recorder very big and very mellow…He and on the recorder. A music critic once that was used occasionally and expres- Bernie taught themselves to play described LaNoue as a ‘musician with sively. His emphasis on good tone recorder and they were pioneers.” the soul of a singer’ [Louis Biancolli in production in my lessons helped me to Bernard Krainis and LaNoue the New York World-Telegram and The develop a beautiful sound on the were trailblazers of professional Sun, October 27, 1959]. That’s a recorder that was well-suited to the recorder playing on the nascent perfect description. He really did think instrument in all kinds of music, and American early music scene in NYC, of himself as a singer when playing the has served me well in my career. beginning in the late 1940s and early recorder. The concept he fostered was Martha concurs. “One hot sum- 1950s. Mark observes, “It is interest- singing into the recorder, no matter mer night I went to my first rehearsal ing to note that Bernard Krainis came what he was playing.” with the [Musicians’ Workshop] and to early music from jazz trombone. When professional recorder play- it was so much fun. LaNoue said, Both of the two earliest American ing was in its infancy in the American ‘Let’s bring our recorders next time.’ recorder pros were originally jazz early music landscape, LaNoue and I love to tell this. At the next rehearsal brass players.” others helped to develop the recorder’s LaNoue took out his recorder and When asked what qualities began to play. This is literally true: LaNoue brought to bear in his www.AmericanRecorder.org November 2009 15 recorder playing, Sheila remarked, under the piano to listen to rehearsals anti-Semitism,” so he left Texas and “[H]is imagination and catholic of his father’s band at home. He began joined up as a private in the Navy tastes—and singing. He played like a playing trumpet when he was 12. By band. There LaNoue would have singer, and often [made allusion] to about age 15, he was good enough to played marches and ceremonial music that in his teaching—one should start gigging. All through high school, for dignitaries, and in various sub- [“sing” on recorder]. When he came he played in jazz and blues clubs (he groups would have played dance to a concert I was singing, I could looked and acted mature). music for entertainment and parties. always spot him in the audience, Sheila said, “I think he learned His previous jazz experience served singing along with his expressions.” most from recordings, of course, and him well in the Navy combo bands from traveling bands that came jamming in the depths of a ship in Early Years: 1922-59 through Texas. He told me of many the South Pacific. LaNoue was good LaNoue Davenport came from a times going to hear someone great like enough to be picked up by the up-and- musical family in Dallas, TX. His Count Basie and standing to listen in coming great big band leader Claude mother was a pianist, and everyone the roped-off section for whites.” Thornhill, whose early bands toured learned to play. His father was a rail- He was also an excellent athlete from ship to ship during the War. road man and also trombone player and won a double scholarship in bas- In 1946, after World War II, with his own small combo (piano, bass, ketball and music to Texas Christian LaNoue moved to NYC where his drums, guitar, trombone and sax) that University, though he only lasted a older brother Pembroke Davenport played gigs on weekends. His father’s year there. Sheila explained, “I know was a very successful musical director band would have played Dixieland in he was unenthusiastic about college, on Broadway, later musical director of the ’20s and swing in the ’30s. but loved playing basketball and that Kiss Me Kate. LaNoue joined the LaNoue grew up listening to jazz was his entry into college.” Mark NYC musician’s union local that year and blues: he told a story about sneak- described him as “appalled by [the and was soon busy as a trumpet player ing out of bed at night and hiding South’s then-common] racism and in pit bands for Broadway shows

LaNoue Davenport (seated far left, next to conductor) plays trumpet with the Navy swing band somewhere in the South Pacific during World War II (c.1943-44). Photo courtesy of Mark Davenport.

LaNoue Davenport (trumpet, second from right), plays in a small jazz combo below deck on a Navy ship somewhere in the South Pacific during World War II (c.1943-44). Photo courtesy of Mark Davenport.

16 November 2009 American Recorder like Look Ma I’m Dancin’ and the recorder…. It was overwhelming, Hell’s A-Poppin’. let me tell you, for somebody who was Like Bob, LaNoue Sheila summarizes his trajectory staying one lesson ahead. But it “was widely interested toward an early music career. “His turned out to be something I really brother conducted for shows, and loved to do.” in all kinds of music. LaNoue sometimes played for him, LaNoue was self-taught on We were quite eclectic; but didn’t enjoy it and gave up the recorder—but, at that time, there trumpet to study recorder with Erich were no recorder teachers to speak we went to hear Ravi [Katz] at NY College of Music.” of in the U.S. Shankar, Balinese Mark continues with details of this After he was graduated from trajectory. “LaNoue went back to NYCM, LaNoue taught theory, ear gamelan, and Bulgarian school on the GI bill at the New York training and sight-singing there. He singers together.” College of Music. In his first-semester was still playing in Broadway shows. composition class, he met Dr. Erich However, according to Mark, “he did widely interested in all kinds of music, Katz …[and] met his first wife, Patsy not recall these gigs with great love: in including modern things like Stravin- Lynch (now Wood)—who with a the band pit, the guys drank, got sky. We were quite eclectic; we went to BA in music from Black Mountain stoned, read the newspaper and played hear Ravi Shankar, Balinese gamelan, College, already played recorder, viola poker; the musical aspect of the work and Bulgarian singers together. We da gamba, and sang early music. Dr. was not engaging—it was just a job were two peas in a pod, except I would Katz and LaNoue took a liking to and not a very inspiring one at that.” go out and play in a jazz band and each other, and LaNoue began to LaNoue says, “[G]radually I [LaNoue] would do early music.” sing in Dr. Katz’s group, the became more and more interested LaNoue invited Bob, who was Musicians’ Workshop.” in early music and in playing the attending college at Columbia Univer- Around 1948 or 1949, Katz recorder. And then at some point sity, to sing baritone in the Musicians’ arranged to do a radio concert on I decided very abruptly to sell my Workshop directed by Katz at WNYC. LaNoue commented in an trumpet. I just walked out of the NYCM, and soon said to him, “You earlier AR interview that “[Katz] house and took it to a pawnshop. But should play recorder.” Bob had played needed someone to play a recorder, that was something that took a long, clarinet in high school, so playing a which I’d never heard or had in my long time to come about.” wind instrument “was not completely hands. The concert was about a month Around 1950, LaNoue and his foreign; I took to it quickly and pretty away. Strangely enough, one of my wife Patsy lived in a ground floor cold- soon I was tootling along.” Bob friends, who had nothing to do with water flat at 333 E 75th St near the eventually played with the Manhattan professional music, happened to have music school. There he met Bob Recorder Consort (MRC). an alto recorder. He let me borrow it, Dorough (well-known jazz pianist, When LaNoue got a grant to buy and a month later I made my debut on composer, arranger and cabaret a set of viols, Bob says he “got pretty alto recorder…[on] an arrangement singer), who had just moved into good on bass viol” as well. However, of a Dufay piece. After that I was the building from Denton, TX, Bob’s “jazz career took off and kept hooked.” where he had been attending [him] pretty busy, so LaNoue had to LaNoue became a disciple of school on the GI bill. fire [him] from the group,” continued Katz—who was the early music “guru” By then, LaNoue was totally Bob. He left MRC around 1954 and in NYC at the time. Like Katz, he immersed in early music and had had to give back the gamba. became involved with the ARS, which given up playing in Broadway pit Jean Ritchie, known as the Katz revived after it had lapsed during bands. Because of his background in “Mother of Folk,” probably gave lap the War. jazz, they “became instant buddies,” dulcimer workshops at the Musicians’ Around the same time, LaNoue Bob said, “although [I] was a jazz Workshop in the ’50s, so perhaps said, “Erich came to me and said musician and LaNoue was playing that’s how LaNoue met her. Jean ‘They’re starting a recorder class at early music in a tuxedo…. [LaNoue] was a folk singer, songwriter and City College and you should teach it.’ had a little jazz in his soul; he just song collector, described by a music He never said, ‘Would you like…?’ completely flipped over early music. critic as having “a charming and he always said, ‘You should go.’ So I He was a devoted jazz fan and had a authentic voice.” She sang a cappella did. That’s really how I learned to play knack for it.” Like Bob, LaNoue “was or accompanied herself on guitar or www.AmericanRecorder.org November 2009 17 lap dulcimer (not hammer dulcimer!). Mark provides more details on this LP. “During one of the innumerable In 1959, Jean recorded Carols for All album, which is not commercially sessions for Classic Editions Seasons, a folk album with classical available: “The album was the Man- some…members of the Manhattan musicians Robert Abramson, harpsi- hattan Recorder Consort’s project and Recorder Consort, while relaxing chord, and LaNoue, recorder. they brought in Ritchie to play on it … between takes of a highly complex LaNoue’s contributions to Jean’s but they gave her top billing…. piece of seventeenth-century vocals on the carols and folk songs This was LaNoue’s doing and they polyphony, were playing for fun some include simple, tasteful and effective recorded on Classic Editions, the label simple vocal arrangements of popular accompaniments, the melodic materi- he did all of the Music Minus One tunes. Producer Irving Kratka [of als that are now used almost univer- Albums on.” This album combines Music Minus One] overheard the sally in early music arrangements. Renaissance dances and English, Irish group fooling around and thought a These were most probably composed and American folk songs. Especially more thorough undertaking in this and improvised by him and include notable is the inclusion of Erich Katz’s direction might be warranted…. It techniques such as simple instru- Toy Concerto, for recorders, toy piano was a year or so later that this germ of mental doubling of the vocals, melodic and percussion; and A Day in the Park, an idea first took growth…occasioned ornamentation of the vocal melody, an arrangement for four recorders of by the return to NYC…of veteran jazz fauxbourdon-like harmonies, imitative a documentary movie score LaNoue musician Bob Dorough, who…also and decorated countermelodies, and wrote for Shirley Clarke, a famous played the recorder for a number of short instrumental interludes and documentary filmmaker. years, and had taken part in… introductions that echo the melody. recordings and concerts under the The bass recorder accompani- Medieval Jazz Quartet: direction of LaNoue Davenport. Early ment and countermelody on The Changes in the 1960s in 1961 Mr Dorough was invited to Holy Well is unusual and effective. Medieval Jazz Quartet (MJQ) was join [Ms] Bixler, Mr Gruskin and LaNoue’s lovely solo recorder an LP recording of jazz standards— director Davenport as a fourth mem- instrumentals with harpsichord but played by the MRC recorder ber of MRC to participate in their accompaniment introduce the album quartet (l to r on album cover: LaNoue, annual concert for the American on The Carnal and the Crane and Martha, Bob Dorough and Shelley Recorder Society…After this event the conclude it with Wassail Song. The Gruskin) and an all-star rhythm consort…[made] a new recording, instrumental solos are so beautifully section of well-known jazz musicians which included many of the selections expressive and naif that one wishes George Duvivier, bass; Al Schackman, from that concert. During the ensuing for more of them! guitar; and especially Paul Motian, rehearsals and sessions…it was A Day in the Park: Music for drums. All arrangements are by Bob, revealed (somewhat abashedly) to A Child’s World was recorded in who traced the genesis of the album on Bob that such a project as this one 1959 with Jean’s vocals and the MRC. the liner notes to the original MJQ was in the air.” Bob had already written a well- Provincetown Bookshop Editions known composition for recorder ensemble, Eons Ago Blue (sheet music “GO FOR NEO-BAROQUE!” soon forthcoming from Mark’s Land- mark Publications, which began as a Andrew Charlton: Partita Piccola. For 4 Recorders (SATB) collaboration between Mark and [Prelude; Allemande; Courante; Musette— LaNoue) as a commission for a neo-baroque epitome!] (Score & Parts, PBE-25) . . . . . $7.95 Bernard Krainis. This “might have Andrew Charlton: Suite Moderne. For 3 Recorders (ATB) instigated the recording a little bit.” [Baroque shapes but Hindemithian harmony] admitted Bob. (3 Playing-Scores, PBE-44) ...... $9.95 “[The] Medieval Jazz Quartet Southwest of Baroque. David Goldstein’s “baroque Suite” was kind of a cute little idea with on Cowboy Songs. For 2 Recorders (SA) (PBE-2) . . . . . $3.50 [Bob] and Martha and Irv Kratka A good source for Recorder & Viol Music of all publishers. deciding to do it and LaNoue going along with it,” somewhat reluctantly The Provincetown Bookshop, Inc. 246 Commercial Street, Provincetown, MA 02657 Tel. (508)487-0964 according to Bob.

18 November 2009 American Recorder arranged as a little concerto grosso puntal devices. For example, some between LaNoue and myself as the sections are characterized by the soloists and the rest of the ensemble. recorders moving absolutely together Its sections were written to begin in in a kind of presto, arpeggiated, point- an improvisatory style but the actual by-point polyphony; these sections improvisation starts in such a manner contrast with others using more that you wouldn’t be able to tell where imitative melodic motives. the notes stopped and the notation Lady Be Good is strictly impro- [devolves] into the chord symbols vised, using just chords, according to used to guide it. It’s hard to say how Bob. It goes right into a nice tenor solo much was written out and how much by Bob accompanied by the rhythm was improvised just by listening.” section—tasteful brushes on the snare Bob said it well. How High the Moon begins with drum and a walking bass. LaNoue Bob’s extended tenor solo as prologue. enters with a very nice alto solo; then “Some people thought, Long notes in the bass accompany the there is a guitar solo with chording ‘What a hoot!’” tenor opening; then the guitar enters as the prominent texture, and subse- more rhythmically. LaNoue slides in quently a quiet solo featuring the bass. Darius and Mark observed that, on alto, and he and Bob duet in an Shelley jumps in, and a recorder trio while LaNoue “loved jazz and always improvisatory manner on the tune; provides a lovely counter-melody played it in the house,” he did not improv duets alternate with tenor consisting entirely of arpeggios in think the recorder was particularly solos. The musicians “trade fours”: a close harmony, to accompany Bob well-suited to the jazz idiom as an guitar solo alternates with the recorder singing the original tune and lyrics. instrument. Bob was making record- quartet doing bluesy interjections, At the B section, guitar adds a ings for Irv Kratka and Music Minus each episode lasting four measures. countermelody to longer notes in One; Irv was interested in having There is a return to the beginning the recorder trio, then solo guitar MRC record on his label. LaNoue recorder duo, which melts into a slow fades out at the end. and Bob discussed the repertoire, and section where the recorder quartet The MJQ album is to some extent Bob wrote all the arrangements. plays an idealized Baroque-style “a case of jazz artist Bob Dorough and Martha provided further impetus counterpoint over a Handelian bass a group of his ‘respectable’ ‘Early for the recording. “I knew Bob in swingin’ eighths. The arrangement Music’ friends all letting their hair Dorough was a great arranger. He had ends with a coda consisting of slow down a bit and having some fun— arranged some popular songs for the arpeggios and a guitar cadenza. [e]ven with their choice of band quartet. I was thinking of the things Autumn Leaves develops as a name, poking gently at the Modern we sang in college like All the Things wonderful but difficult arrangement, Jazz Quartet. It was a different era, You Are and all the love songs of the with inventive melodic variations on but it’s still hard to believe they could Second World War, that kind of thing. each repetition of the tune. One have been courting any commercial So when Bobby came up with what he variation involves rhapsodic declama- potential in marrying recorders and did…it was quite a shock—of course, tions with each voice of the recorder other early instruments to the jazz it was a pleasant shock, because I loved quartet moving at the same breakneck idiom—and that’s part of the beauty it—but it was quite different from velocity. There is abundant imitative of it. Boasting a stellar line-up, it’s a what I’d had in mind. I think he just counterpoint, with hip diminutions fun and lovely LP, one that swings on decided and then he went to town. and melodic flourishes in a quasi- many levels. But it’s not a great stretch “LaNoue didn’t do any of the jazz/Baroque style. This imaginative to imagine that it may have been arrangements, but he chose the arrangement begins with a kind of received as being too high-brow by personnel…the Manhattan Recorder four-part chorale on the tune using one crowd and too low-brow by Consort, except that Bobby took the points of imitation. LaNoue impro- another,”(unknown author on the place of one of its members…. It was vises on bass recorder in one section. blog, “I’m Learning to share” such an adventure to do all that stuff!” The arrangement features sec- (http: //learning2share.blog Bob mentions three particular tional variations of the tune with spot.com, July 11, 2007). arrangements that are his favorite tempo and textural changes, and a Bob said it well. “Some people highlights. “How High the Moon was variety of melodic motives and contra- thought, ‘What a hoot!’” www.AmericanRecorder.org November 2009 19 It is now quite common to per- “I think LaNoue was ashamed of form not only contemporary and avant the recording then, which I always “He, like most of garde music and jazz on the recorder, thought was a shame because people his contemporaries, but also crossover and sometimes rock loved it! I knew we were special and I as well. Martha aptly sums up the dif- did feel that we were breaking ground. believed that there ference in thought between what was It was pretty exciting.” considered appropriate repertoire for According to all concerned, was music that was recorders then and now. “LaNoue LaNoue was a reluctant party to the entertainment, and there regretted making that recording and MJQ project. Mark agrees. “LaNoue he just wished it didn’t exist. He was had certain ideas but was also open and was music that was art.” afraid people would think he was had enthusiasm for trying something vulgar playing jazz on the recorder: he’d never done before. Consequently, Revolution and Evolution: this was in the late fifties—50 years he didn’t always like everything he did. Embracing The Beatles ago—this is just what people thought. [What he] felt about jazz on recorder Mark remembers, “We were forbidden You didn’t play jazz on the recorder, was that it was very difficult for the to play rock [in the house] until The you played early music on the recorder, recorder to achieve the idiomatic Beatles’ Sergeant Pepper album and and possibly folk stuff and that was it. expressive qualities that a sax and [until] people like Leonard Bernstein So now of course you stumble over jazz trumpet could get: dynamics, were touting them. Previously recorder players every time you take a glissandi. He had extremely high [LaNoue] had dismissed anything step. They’re all over the place and it’s standards; and unless it met those ‘pop’ as not worth much, and had set completely accepted. It’s also accepted standards he didn’t end up doing it. ideas [about pop music]. He was very that you do play all kinds of other [LaNoue felt] early music was much open to things if something interested unusual things on the recorder too. more conducive to recorder and had a him, but he was ‘turned off ’ by things The first modern music we recorded hard time appreciating what recorder that were commercial. He, like most of was Benjamin Britten—that was about could do in a traditional jazz setting.” his contemporaries, believed that there as avant garde then as you could get. was music that was entertainment, and there was music that was art. I remem- LaNoue Davenport and family in 1969 at home in Stony Point, ber turning off [Beatles’ album] NY: (l to r) Darius, with partner Linda and son Sasha; Sheila Revolver suddenly, saying, ‘Here Schonbrun Davenport; Stefan (holding baby Dylan); Mark; comes Dad!’” LaNoue. Photo: Chris Williams, courtesy of Mark Davenport. LaNoue’s appreciation of music by certain rock artists began during the later ’60s. Mark observes that “this was not some strange thing that LaNoue thought—but was the common way of looking at entertainment vs. art…that only changed when The Beatles came along and shook everything up….He was a product of Texas and the South, but he became liberated with everyone else in the sixties: liberated as a male and liberated as an artist. He was pretty old-fashioned in some respects, but became much more receptive and open at that time.” Darius makes a similar comment with respect to LaNoue’s about-face. “The big turn-around for him was The Beatles…. Most of the popular music that I listened to and I’m sure he

20 November 2009 American Recorder enjoyed was Black popular music like The Autosalvage songs melded a Aretha Franklin, Smokey Robinson, wide variety of rock-and-roll styles and The Supremes, Otis Redding, Nat techniques, such as complex rhythmic King Cole, James Brown, that whole patterns and odd meters; multiple genre of Black American sixties- layers of rock musical and lyrical styles, crossover from church and the from Bob Dylan to The Beach Boys, blues…. [LaNoue] was able to The Beatles and psychedelia; and tolerate and respect American popular extended 12-bar blues formal struc- music and rock-and-roll, other than tures. There are quick tempo, meter Motown and rhythm-and-blues [and and style changes from section to soul], through The Beatles. And then section—à la Sergeant Pepper, with that just kind of opened up his mind.” Beatles-influenced polyphonic In the late ’60s, LaNoue was instrumental arrangements and vocal invited by Darius to play on a seminal harmony on verses, and Beach Boys- rock recording with the band Auto- influenced rhythm and vocal harmony salvage. It was unusual, but not singu- on choruses, layered with psychedelic lar, to include recorder on a rock folk rock effects in the treble. album. For instance, Terry Kirkman The fuzzy sound of the krum- contributes wonderful recorder work horns and sackbut played by LaNoue on the hit albums by The Association blend with the fuzzy distorted guitar beginning in the mid-1960s (see my and become part of the eclectic psyche- earlier interview with Terry Kirkman, delic effects. Darius—a founding AR, September 2005). It was, however, member of Autosalvage, and its completely revolutionary to include inventive and energetic drummer— multiple recorders—to say nothing of sings, and also plays krumhorn and multiple krumhorns and sackbuts! recorder with his dad on the LP. By this time, LaNoue appreciated Regrettably this is the only Auto- certain kinds of rock-and-roll, and I salvage recording. It is notable as one can conjecture that he was probably of the first LPs using the then-novel open to the possibilities of recorder technique of eight-track recording. and early instruments as art rock Autosalvage, as one of RCA’s artistic instruments. I can also imagine that rock ensembles, was among the first Lost in Time Press LaNoue entered into the project with to use this new technology that was his son with enthusiasm and energy. available in RCA’s state-of-the-art New works and Darius offers confirmation. NYC recording studio. Early instru- arrangements “It was obvious from listening to the ments—krumhorns, recorders and for recorder ensemble Autosalvage recording that he under- sackbut played by LaNoue using stood the method, the message, the multi-tracking—hold a prominent role Compositions by dynamics of the music that was hap- in three of the songs on the disc. pening, and was able to superimpose Darius observes that “LaNoue Frances Blaker Paul Ashford his part on early instruments—but it had done a lot of recording, but a Hendrik de Regt was not awkward at all; he very much different kind of recording, not and others understood the syncopation and the anything like Autosalvage, [which different rhythms; sometimes we used was] just absolutely wild—no charts, Inquiries: 5/4 and 11/4, and of course it was he just came in with all his recorders Corlu Collier right down his alley.” and krumhorns and sackbut, and the PMB 309 Autosalvage was one of the few guys probably said, ‘Why don’t you 2226 N Coast Hwy East Coast psychedelic bands. As just play something?’ He came in after Newport, Oregon 97365 Mark notes, “most everything was the tracks were down; multi-tracking www.lostintimepress.com happening in San Francisco: Janis was completely new to him, he’d had [email protected] Joplin and the Grateful Dead.” no other experience playing two krum-

www.AmericanRecorder.org November 2009 21 horns—Burglar Song uses three krum- the sackbut, the krumhorns and the A krumhorn interlude is fol- horns [LaNoue plus Darius], there’s recorders to what we were doing.” lowed by sitar-styled guitar, playing both duo plus overdub. He’s also play- Besides Burglar Song, LaNoue an ascending- and descending-octave ing these pretty wild recorder lines and added improvised rock-and-roll parts minor scale that is accompanied by glissando sackbut, come-in-and-bring- on early winds on two more tracks: twittering and fluttering sounds on your-bag-of-tricks kind of thing.” Ancestral Wants and A Hundred Days. sopranino and soprano recorders. LaNoue’s early winds blend per- An ascending four-note scale on The recorder twitter accompaniment fectly and fit in seamlessly with “the krumhorns and guitar begins the body gradually becomes more prominent, rumbling distorted guitars, frenetic of the work, following an “electronika” then the fluttering mixes with elec- drumming, dissonant harmonies, and introduction to Burglar Song. This tronika, krumhorns and guitar. constant tempos and time signature statement becomes the thematic motive A short interlude with the whole changes of the music” (from Lewis of the album. It is repeated and varied band only comes before the fifth strain Shiner, “Autosalvage,” Fiction Libera- on many of the album’s songs. (repeat of “To the lives of long ago”), tion Front, July 2007). Darius notes that This leitmotif is followed by a and is followed by a short bluesy guitar “The guys in the band were folkies that soprano and alto krumhorn duo that section in the sixth strain (“History had come out of the folk scene…so all introduces a quickly descending triplet won’t harm you”). At the end, long three were interested in folk instru- figure (before the first and third notes—followed by a short melody on ments, so the idea of ‘medieval’ instru- verses). LaNoue’s sackbut blasts the recorder, outlining an ascending ments was interesting to them. But second-beat Motown-like horn inter- fourth—recall the opening melody, beyond that I don’t think they had jections, and the sackbut contributes and the end fades into electronika. much of an idea what to do except that an overdubbed countermelody during Darius remembers, “We do a lot of they thought it would be a neat idea to the second and third verses. The sound fluttering, just kind of ad libbing… have my dad come in and play his of the krumhorn duo in long notes— John Cage would have loved it, I’m instruments and do his thing…he with their fuzzy timbre, like the fuzzy sure—just twittering, a harmonic kind easily came into the studio and adapted timbre of a psychedelic guitar— of stuff [that] resolves at the end… finishes the song. and it goes into another section.” Random noodling from everyone, A Hundred Days uses krumhorns including the krumhorns, fades into and recorders. The guitar opens with the sound of strings and more elec- a lovely sitar-like short melody. Duo tronika. Darius remembers, “Lead krumhorns accompany the vocal guitarist Rick Turner got a very, very melody on the second (“I am too metallic, stinging, almost screeching quickly plagued”) and fifth strains narrow treble sound, and the krum- (”I would buy them now”). Before the horns are playing parallel to the guitar. opening text (“A hundred days”) That was a very popular guitar sound returns, LaNoue’s sackbut enters with at the time; the very reedy, sometimes a long high blast that becomes a long screeching, quality of the krumhorn drone under the guitars. With the fit right in. An untrained ear would return of the text “A hundred days,” probably think the krumhorns are two recorders enter with a short a guitar.” countermelody, and then the song ends Ancestral Wants has a quite dif- with a short lyric (“Oh to become ferent sound (acoustic guitar, bass, between them?”—this text is missing voices, sitar-like guitar) in the first from the CD booklet). (“Come away from the every day”), Land of Your Dreams, which second (“Grasp the hands of family does not use LaNoue on early winds, ties”), third (“Then hear the strains of should receive a quick mention. There forgotten chords”), and fourth sections is a short introduction by a guitar, (“To the lives of long ago”). Krumhorn sounding like an electronika krum- interludes interject a completely dif- horn, as well as string interludes on ferent mood and sound, like memories which gambist Judith Davidoff plays. or dreams of a children’s song. 22 November 2009 American Recorder performances we did, but there were Making a Full Circle The genius of the of Connections lots. There were several different bass In the early 1980s, Music for A While players for scheduling reasons. program’s concept is presented a number of performances of LaNoue played drum and ‘hosted.’ a program entitled “I Got It Bad and Karen Hansen and Grant Herreid that Machaut and That Ain’t Good.” The program com- [as well as Tom Zajac] played with us [Duke] Ellington have a bined and contrasted love songs by at [different] times.” By this time, Guillaume de Machaut (1300-77) and LaNoue had had a disabling stroke great deal in common. Duke Ellington (1899-1974). The and was not able to perform on program concept was sparked by recorder any longer. that they were both ‘progressive’ com- Sheila’s inspiration. “[The] Machaut The five hundred or so years of posers whose work changed and /Ellington [program] was the result of music history that separate Machaut expanded that of their musical prede- an article I read in the British Early and Ellington are striking, almost cessors, and that they wrote music ‘for Music [journal]. [It was the author’s] jarring, on the cassette recordings of the ‘occasion,’ i.e., the church, a party, a idea that Ellington’s work should be as this concert performance—yet the ceremony, for example, not for the closely studied and revered as is genius of the program’s concept is that purpose of creating abstract art.” Machaut’s work. I thought we could Machaut and Ellington have a great He points out that we know from make a great program out of it and deal in common, even separated by Machaut’s love song lyrics that he LaNoue came along enthusiastically, so much time. In his introductory thought joy was love’s primary gift, bringing his good friend Bob Dorough remarks to the program, which follow as did Ellington. Sheila says, “This into it, and Bob brought different bass the first set (Machaut’s Chanson Roial/ is all to the same point for LaNoue: players. Ellington’s It don’t mean a thing if it ain’t the language may be different, but “LaNoue contributed arrange- got that swing/Machaut’s Gai et joli), it’s all expressive and it’s all about ments and picked some of the pieces— LaNoue points out that both com- communication.” and of course his expertise in jazz was posers “worked in a musical milieu in LaNoue’s influence on his family, invaluable. I have no idea how many which improvisation was important… students and colleagues is clear. Sheila

Music for A While, c.1972 (l to r): Phil Levin, Judith Davidoff, Steve Silverstein (behind Judith on horse), LaNoue Davenport, Sheila Schonbrun. Photo courtesy of Frances Feldon.

www.AmericanRecorder.org November 2009 23 think he would really have enjoyed He reinforced hearing it.” my inclination to “I’ve spent a good part of my professional career gravitating between “march to a different early music and pop music, and drummer” as a musician, sometimes doing both at the same time. I recall a crazy period in the late with the idea that it’s ’70s when I was doing the Play of Daniel tour with the Pro Musica, all to the purpose of that LaNoue was directing, and then singing and expressing rushing off afterwards to get to my dance club gig somewhere in Wilkes- on the recorder Barre, PA. With Full Circle, I have finally found common ground through what’s inside oneself. a conscious attempt to fuse popular and classical forms and techniques. “popular” music into my own playing LaNoue Davenport in the They are popular songs, but set in a and concert programs, from creating mid-1980s. Photo courtesy classical song cycle, with recurring new programs that present transcrip- of Mark Davenport. lyrical and musical motifs. It’s art rock. tions of popular works that have used And, of course, I even managed to play says, “As his father taught [music to] recorders, and juxtaposing those with some recorder! all of his kids, so LaNoue did for his contemporary works, to making “But, in many ways, it was the sons…. He knew lots about jazz and arrangements of Beatles’ songs using culmination of what I learned from basically was my introduction to it.” early instruments combined with LaNoue…not being afraid to try Darius agrees. “LaNoue was the modern instruments, and contrasting new things and, above all, finding a biggest inspiration and influence. It those arrangements with works by meaningful avenue of self-expression.” kind of came with the territory that I Bach. I have studied the elements of started playing recorder at six years jazz, and enjoy practicing, playing and Discography old, [learning] from The Man improvising in the privacy of my own Autosalvage himself—who was my father…. studio—as well as making arrange- LP: RCA Victor LSM-LSP 3940, “Music was all around the house ments for my students of jazz tunes by, 1968 my whole childhood. Not only did he for example, Duke Ellington! CD: reissued by Evangeline/BMG, influence me, but he was the biggest I think this is all at least partly 2001, Acadia ACA 8011 influence on me…I withstood his LaNoue’s influence on me: he Autosalvage: Steve Boone, bass, piano; rigorous standards, and his style of reinforced my inclination to “march to Tom Danaher, vocals, guitar; teaching could be somewhat formida- a different drummer” as a musician, Darius Davenport, vocals, piano, ble, he could be a pretty big presence with the idea that it’s all to the purpose drums, recorder, krumhorn; Rick in the room. One of LaNoue’s greatest of singing and expressing on the Turner, guitar, banjo, dulcimer; attributes—and he was born with it— recorder what’s inside oneself. with LaNoue Davenport, was his sense of pitch, time and rhythm Mark, who also studied recorder recorder, krumhorn, sackbut. (I have that as well!). [He had a] kind with LaNoue and later recorded with of intuitive understanding of music at him, has followed a similarly eclectic The Medieval Jazz Quartet just about any level…. That’s really musical path. It’s demonstrated plus three one of the most incredible things about especially with the recent release of his Arranged by Bob Dorough LaNoue: his musicianship, so much of self-produced CD, Full Circle: Songs LP: Music Minus One/ it was natural talent and natural ability on the Carousel of Time. Mark Classic Editions, 1961 to hear, his ability to understand how to explains, “This is a very personal CD: reissued 2008, Classic Jazz add to something, to any kind of music album for me, and there’s a certain Records CJ19 that’s appropriate and fits well.” reconnection with [LaNoue]… that Performers: Martha Bixler, In the last several years, I’ve has to do with him, and family, and I soprano/alto/tenor recorders, enjoyed incorporating the elements of

24 November 2009 American Recorder STATEMENT OF OWNERSHIP, AR@50: LaNoue Davenport on the ARS MANAGEMENT AND CIRCULATION LaNoue Davenport had a large influence on the development of the recorder and (Required by 39 U.S.C. 3685) 1. Publication title: American Recorder. 2. Publication No. its community in America—generations of family, students, colleagues, friends, the 0003-0724. 3. Filing date: October 1, 2009. 4. Issue frequency: Bi-monthly except summer. 4. No. of issues amateur community. He had a warm presence full of humanity, and he voiced this in published annually: five. 6. Annual subscription price: $36. 7. Complete mailing address of known office of publication: his work as teacher and performer. His individual musical style manifested itself as the American Recorder Society, 1129 Ruth Drive, St. Louis, MO importance of expression and "singing" on the recorder. His generosity as a teacher and 63122-1019. Contact person: Kathy Sherrick. Telephone: 314- 966-4082. 8. Complete mailing address of the headquarters or his contributions to the recorder community at large enabled him to combine these two general business office of publisher: same. 9. Full names and complete mailing addresses of publisher, editor, and managing things—the personal and the communal—in a natural, graceful way. Below are editor: Publisher: American Recorder Society, 1129 Ruth Drive, St. Louis, MO 63122-1019. Editor: Gail Nickless, some of his words, from a 1989 interview with Ken Wollitz and Marcia Blue in 7770 South High Street, Centennial, CO 80122. Managing American Recorder.—Frances Feldon Editor: same. 10. Owner: American Recorder Society, 1129 Ruth Drive, St. Louis, MO 63122. 11. Known bondholders, “The central concerns of my life have been community and cooperation. It mortgagees. and other security holders owning or holding 1 percent or more of total amount of bonds, mortgages or other seems to me that the ARS…exemplifies the ideals that are most important securities: None. 12. Tax Status (for completion by nonprofit to me…I think these organizations have made a really important contribution organizations authorized to mail at nonprofit rates): The purpose, function, and nonprofit status of this organization to our society...I feel that very strongly…. My view of the ARS is that it’s and the exempt status for federal income tax purposes has not changed during preceding 12 months. 13. Publication Title: one of the bright aspects of American life. It’s a teeny little thing, but you American Recorder. 14. Issue Date for Circulation Data: have to go with teeny little things. That’s the best you can do…” September 2009. 15. Extent and nature of circulation. A. Total number of copies. Average no. copies each issue during “I would say that the ARS is primarily responsible for whatever early music preceding 12 months: 2750. No. copies of single issue published nearest to filing date: 2800. B. Paid Circulation: 1. there is here [along with New York Pro Musica]…these two organizations, Mailed outside-county paid subscriptions stated on PS Form I think, were most instrumental in getting early music out across the country… 3541. Average no. copies each issue during preceding 12 months: 2181. No. copies of single issue published nearest to the ARS has done an enormous service here on a small scale. First…it has filing date: 2150. 2. Mailed in-county paid subscriptions stated on PS Form 3541. Average no. copies each issue during enabled many, many people to make a livelihood out of doing early music… preceding 12 months: 0. No. copies of single issue published Second, I think the ARS is an important social phenomenon, because it’s so nearest to filing date: 0. 3. Paid distribution outside the mails including sales through dealers and carriers, street vendors, rare in this culture for a group of people—and disparate types of people— counter sales, and other paid distribution outside USPS. Average no. copies each issue during preceding 12 months: 0. to get together just to make music.” No. copies of single issue published nearest to filing date: 0. 4. Paid distribution by other classes of mail through the USPS krumhorn; LaNoue Davenport, (e.g., first-class mail). Average no. copies each issue during Resources preceding 12 months: 150. No. copies of single issue sopranino/alto/ bass/tenor Telephone interviews by Author with: published nearest to filing date: 148. C. Total paid distribution. Average no. copies each issue during preceding 12 months: recorders, tenor krumhorn; Bob Martha Bixler, May 8, 2009; 2331. No. copies of single issue published nearest to filing Dorough, tenor recorder, vocals; date: 2298. D. Free or nominal rate distribution (by mail and Darius LaNoue Davenport, outside the mail). 1. Free or nominal rate outside-county copies Shelley Gruskin, alto/bass March 13, 2009; Mark included on PS Form 3541. Average no. copies each issue during preceding 12 months: 0. No. copies of single issue recorders, transverse flute; with Davenport, August 4, 2009; published nearest to filing date: 0. 2. Free or nominal rate in- George Duvivier, bass; Al county copies included on PS Form 3541. Average no. copies Bob Dorough, March 6, 2009; each issue during preceding 12 months: 0. No. copies of single Schackman, guitar, bouzokee; Sheila Schonbrun, August 9, issue published nearest to filing date: 0. 3. Free or nominal rate copies mailed at other classes through the USPS (e.g., first- Paul Motian, drums. 2009 (also e-mail interview, class mail). Average no. copies each issue during preceding 12 months: 123. No. copies of single issue published nearest to August 23, 2009). filing date: 118. 4. Free or nominal rate distribution outside the Carols for All Seasons Ken Wollitz and Marcia Blue, mail. Average no. each issue during preceding 12 months: 62. No. copies of single issue published nearest to filing date: 106. LP: Tradition TLP 1031, 1959 “An Interview with LaNoue E. Total free or nominal rate distribution. Average no. copies CD: reissued by Rykodisc, 1997, each issue during preceding 12 months: 185. No. copies of Davenport,” American Recorder single issue published nearest to filing date: 224. F. Total Tradition TCD 1058 (February, 1989) 4-7. distribution. Average no. copies each issue during preceding 12 months: 2516. No. copies of single issue published nearest Performers: Jean Ritchie, vocals and to filing date: 2522. G. Copies not distributed: Average no. dulcimer; Robert Abramson, copies each issue during preceding 12 months: 234. No. copies For additional information, read the of single issue published nearest to filing date: 278. H. Total. harpsichord; LaNoue Davenport, two installments of “A History of Average no. copies each issue during preceding 12 months: 2750. No. copies of single issue published nearest to filing recorder. the American Recorder Society: date: 2800. Percent paid. Average percentage during preceding 12 months: 93. Actual percentage for single issue A Memoir” by Martha Bixler, in published nearest to filing date: 91. 16. Publication of A Day in the Park: the March 2007 and May 2007 Statement of Ownership. Will be printed in the November 2009 issue of this publication. 17. Signature and Title of Music for A Child’s World issues of AR. Editor, Publisher, Business Manager, or Owner: Kathy Sherrick, Administrative Director, October 1, 2009. I certify LP: Classic Editions CE 1043, 1959 that all information furnished on this form is true and Performers: Jean Ritchie and complete. I understand that anyone who furnishes false or misleading information on this form or who omits material or Manhattan Recorder Consort information requested on the form may be subject to criminal sanctions (including fines and imprisonment) and/or civil sanctions (including civil penalties).

www.AmericanRecorder.org November 2009 25 Response ______The recorder compared to jazz at the turn of the century, ______turning pages, and the last of Lully NASTY PAGE TURN FIXED (a beak, open fingerholes) overlapped In the Music Reviews department of I thought this was a with conscious revivals of the Baroque the January 2009 AR, I reviewed very good arrangement and even Renaissance types. We Hasten with Eager But Faltering originally, but after I therefore see the situation of the Footsteps by J. S. Bach, as arranged recorder in the 19th century rather like by R. D. Tennent and published by corresponding with her that of jazz in the 20th century. At the the Avondale Press in 2006. I men- about this matter, I beginning of the century, jazz devel- tioned in that review that there was a would now recommend oped in New Orleans as a fusion of “nasty page turn” to contend with. blues, ragtime, folk music, and even Ms. Kathryn Cernauskas of this arrangement even classical music. Then other styles of Avondale Press contacted me about more than before. jazz evolved: Swing, Bebop, Cool, etc., that comment, as they take great care even as the "moldy figs" insisted that in publishing parts to facilitate smooth specifically excluded both these nothing past Swing was worthy of the page turns whenever possible. instruments from these articles which name "jazz." Eventually, the earliest We discovered that I was sent are concerned with the continued style was "revived" in the form of an incorrect version of the parts. Ms. existence of the recorder itself and not Dixieland. Amazingly, practitioners of Cernauskas, with apologies, sent the with its very worthy derivatives, the all these styles ended up co-existing, correct published version of the parts, csakan and the English flageolet. and still co-exist today. and they are wonderfully laid out on I entirely agree with Dr. Lasocki Let us not be "moldy figs" and two sides of a large sheet of paper, that these instruments were of far deny any aspect of the development such that all page turns are now greater importance and of more wide- of the recorder, just enjoy each mani- completely eliminated. As I told Ms. spread use than the recorder during the festation for what it was and is. Cernauskas, I thought this was a very 19th century, but I am sure he will David Lasocki, Indiana University good arrangement originally, but after agree with me that it is—in the light of corresponding with her about this modern research by Tarasov, myself ANOTHER ANNIVERSARY matter, I would now recommend this and others—appropriate to emphasize In preparation for the Adirondack arrangement even more than before. that the recorder did not become totally Baroque Consort’s 50th Anniversary The Avondale Press is a business extinct in the 19th century (as is com- in 2012, I [would like to ask] readers of great integrity and I commend them monly supposed) but that recorders of the magazine to send to us anec- to you highly. continued to be made across Europe— dotes, photos and personal experiences Valerie Hess albeit in small numbers— throughout with the group over the years. the century. The Adirondack Baroque Con- BREAKING THE MOLD Douglas MacMillan, Surrey, UK sort (ABC) was the first live musical WITH THE 19TH- group to perform on the fledgling CENTURY RECORDER? RESPONSE FROM DAVID LASOCKI: WMHT–Schenectady the first week it I was interested to read David Nikolaj Tarasov's researches have was on the air. The ABC was founded Lasocki's reviews of my recent articles shown us that the recorder survived in 1962 by Dr. Maurice C. Whitney, on the subject of the recorder in the during the 19th century at the same director of music for the Glens Falls 19th century (AR, May 2009) in which time [that] recorders under other (NY) City Schools. Over the years, the he castigates my apparent neglect of names (csakan, English flageolet)— group has performed throughout the the csakan and flageolet. I should point not "derivatives" of the recorder as Dr. northeastern U.S. out—as I stated quite clearly in both McMillan puts it—went through a Members of the Consort are the Galpin Society Journal and the swift evolution. Eventually, what was amateur and professional musicians Recorder Magazine— that I have still noticeably like the Baroque form from many walks of life. Their goal is

26 November 2009 American Recorder to make music—from Medieval to LULLY, AT LAST modern—come alive. Anthony Rowland–Jones sends word ABC has an active schedule of that his final and complete article, with concertizing and musical lectures at tables, on Jean–Baptiste de Lully’s use schools, colleges and organizational of recorder symbolism was published gatherings. Instruments such as in the May 2009 Early Music (sub- recorders, crumhorns, cornamusen, scription required, or individual issue violas da gamba, Glastonbury pipe, access instructions at www.oxford keyboard, and various percussion journals.org/faq/access_purchase instruments are often used in their .html#pch_sbki). This article was the authentic performances. The Consort basis of a talk given by Rowland–Jones is one of the oldest early music per- during the 2007 Boston Early Music forming groups in the U.S.; it is a Festival (where he also received the registered not-for-profit educational ARS Presidential Special Honor organization; all the artists volunteer Award) and was excerpted in his their time and talents. Proceeds of article for the January 2008 AR. their efforts go for the purchase of music and the support of national and regional music scholarships. The group has played at Albany and Schenectady First Nights, and will play at Saratoga Springs’s First Night on New Year’s Eve. [They also play at] churches, libraries and adult homes. On June 7, ABC played at Early Music America Magazine is the quarterly Marshall House All Souls Anglican publication for the Early Music Community in North America: Professionals, Students, and Mission Historic Site in Schuylerville. Audience members. Later, on June 20, the Consort played for the Strawberry Festival at St. Paul’s Articles on performance practice, trends in the Episcopal Church in Kinderhook, NY. field, recording reviews, and a new book reviews On September 13, ABC offered a department. family-oriented concert at the Valatie Call 888-722-5288 or email [email protected] (NY) Community Theatre, and on for a FREE sample issue. October 24, played at the Medieval Faire at the Cathedral of All Saints, Albany, NY. Joseph Loux, Artistic Director, Adirondack Baroque Consort The Recorder Shop / Loux Music Publishing / Dovehouse Editions Canada

Responses from our readers are welcomed and may be sent to American Recorder, 7770 South High St., Centennial, CO 80122. Letters may be edited for length and consistency.

www.AmericanRecorder.org November 2009 27 Compact Disc Reviews ______Five capsule reviews: Medieval to Mozart Reviewed by Tom Bickley Along with the familiar repertory 23 tracks on this CD bring to life the are related ones from Balkan, Romanian treatises. MEDIEVAL INSTRUMENTAL and Moorish traditions. The instru- The title, Io amai sempre, translates MUSIC. CANÇONIÈR (ANNETTE ments sound wonderful, though the as “I have loved always,” a madrigal BAUER, RECS; TIM RAYBORN, PERC, recording strikes my ears as having text set by Willaert and treated by this PSALTERY, HARP, LUYTE, SYMPHONIE, more reverb than needed. ensemble. Their approach yields a rich, ’UD, LAUTA; WITH SHIRA KAMMEN, We are at a point with historically- dreamlike soundscape, in which the per- VIELLE; PHOEBE JEVTOVIC, VOICE.) informed performance at which the formers model the freedom that comes Cançonièr CAN CD 01, 2008, 1 CD, Medieval repertory needs to be heard in with mastery of the tradition of diminu- 55:47. ARS CD Club, Kunaki CD stretched-out rather than compressed tion and love for the original material Distrib., CDBaby.com, etc. $13.99 versions. While I recommend this CD, I that they ornament. This recording takes (CD), $9.99 (mp3 download). look forward to this ensemble genuinely us a welcome step beyond performances www.canconier.com “pushing the envelope”—particularly in and recordings of notated diminutions Annette Bauer and Tim Rayborn longer versions of this same repertory, of, for example, Anchor che co’l partire named their new ensemble Cançonièr with extended improvised material. by Dalla Casa, Bassano and Bovicelli. using the Occitan (old southern French) Their web site indicates that The recordings, made at the word for chansonnier—songbook, or Cançonièr will perform as an expanded Church of Longchaumois, employ collections of sacred and secular music. ensemble with Kammen and vocalist very close placement of the microphones. The name suits their focus well, and this Phoebe Jevtovic. I look forward to more! This is sound as heard by the music CD, while instrumental, includes both stands rather than by an audience. sacred and secular music. GANASSI: In French and English, the booklet Both principal players bring a IO AMAI documents the music, research, record- wealth of experience in non-Western SEMPRE ing and instruments very well. Cover art musics to bear on this repertory. The (VENISE by Anne Peultier adds to the charm. result is a satisfying sound, even more 1540). so in their collaboration with Shira Kam- PETER HYPNOS. PIERRE HAMON, RECS men in the hocketing pieces on track 2. BORAGNO, & FLUTES; VIVABIANCA-LUNA BIFFI, RECS; MARIANNE MULLER, VDG; VDG; MICHAEL GRÉBIL, CISTRES MASSIMO MOSCARDO, LUTE; & MEDIEVAL LUTE; CARLO RIZZO, We are at a point with FRANÇOIS SAINT-YVES, ORGAN TAMBOURINES; JOHN WRIGHT, & HC. Zigzag Territoires ZZT081002, GUIMBARDE. Zigzag Territoires historically-informed 2008, 1 CD, 66:02. $18.98 (CD), ZZT090101, 2009, 1 CD, 61:13. $8.99 (mp3 download). $18.98 (CD), $8.99 (mp3 download). performance at which www.zigzag-territoires.com www.zigzag-territoires.com Boragno and company perform This disc covers some repertory in the Medieval repertory madrigals, ricercares, toccatas and fanta- common with Cançonièr, with some sies by Ganassi, Willaert, Gombert, similarities and some differences. da Ripa, Segni, Canova, Cavazzoni, Hamon plays a wide variety of recorders needs to be heard in Fogliano and Arcadelt, using ornamen- and flutes, and includes new compo- tation principles in Ganassi’s treatises sitions as well as Medieval and tradi- stretched-out rather than Fontegara (1535) for recorder, Regola tional pieces. His ensemble includes viol, rubertina (1542) for viol, and Lettione Medieval lute, cistres (cittern), tambourin compressed versions. seconda (1543) for viol and lute. The (Medieval drum), and jaw harp. The result is a great range of timbres.

28 November 2009 American Recorder The affects range from contemplative (Al Leanezig Izabel from Breton) to ecstatic (Italian 14th-century Ghaetta). Order your The wind instruments used include soprano and tenor recorders, bansouri flute, and double- and triple-barreled recorder discs flutes. Three works by Machaut find places among traditional Sephardic, through the Breton and Armenian pieces, the 14th- century Ghaetta, and new compositions ARS CD Club! by Philippe Schoeller, Mario Lavista and Hamon himself. The ARS CD Club makes hard-to-find or limited release To my ears, the very most satisfying CDs by ARS members available to ARS members at the special price listed. All CDs are $15 ARS members/ playing occurs in Schoeller’s Hypnos $17 Others unless marked otherwise. Two-CD sets are $24 ARS members/ linea V that opens the disc, and Lavista’s $28 Others. Add Shipping and Handling: $2 for one CD, $1 for each additional CD. wonderful Offrenda that closes the disc. I An updated list of all available CDs may be found at: www.americanrecorder.org. do not mean to diminish the accomplish- ___CANÇONIÈR – MEDIEVAL INSTRUMENTAL MUSIC ment of the imaginative music-making Annette Bauer, recorders; Tim Rayborn, percussion; Shira Kammen, vielle; Phoebe in the 11 tracks between those two Jevtovic, voice. Medieval dances, motets bring to life a rich world of ancient European works. As I noted with Cançonièr’s disc, music-making (from the 12th-15th centuries in the Balkans, Scandinavia, Middle East). ____CAROLS FOR DANCING I would have liked more extended Renaissonics, John Tyson, recorder. Intimate connections among familiar holiday music treatment of the pieces in the middle. and Medieval and Renaissance dances. WGBH. Artistic direction for Hypnos, as for ____CHRISTMAS AT THE CASTLE Ganassi: Io amai sempre, was by Alban Five centuries of holiday music from many lands; a Christmas concert set in a castle, played & sung by 17 musicians on recorders, strings, percussion & voice. Moraud. The sound is similar in both ____DANCING DAY discs, and satisfyingly immersive. Scott Reiss, Tina Chancey & Jane Hershey, recorders; other early instruments, voice. Medieval, Renaissance, traditional Christmas music, 500 years in Europe and America. ____DOLCE MUSICA– A CONTEMPLATIVE JOURNEY GARDEN OF EARLY Eileen Hadidian,flutes, recorders; Natalie Cox, harps. Celtic, Renaissance and Medieval DELIGHTS. PAMELA THORBY, melodies. Healing Muses, 2005. REC; ANDREW LAWRENCE KING, ____IN NOVA CANTICA, A CELEBRATION OF CHRISTMAS Eileen Hadidian, recorder & Renaissance flute, with voice, violin, vielle, gamba and lute. HARP, PSALTERY. Linn Records Traditional carols, chansons, festive dances of the 13th-17th centuries. Healing Muses. CKD 291, 2008, 1 hybrid/SACD ____MUSIC FOR A WINTER'S EVE (plays on standard CD players), Eileen Hadidian, recorder & Baroque flute, with voice, violin, viola da gamba & Celtic harp. Traditional, Renaissance and Medieval songs. Healing Muses. 67:01. $24.99 (SACD), $6.99 (mp3 ____REFLECTIONS, MUSIC TO SOOTHE AND UPLIFT THE SPIRIT download). www.linnrecords.com Eileen Hadidian, recorder & Baroque flute, with Celtic harp and 'cello. Celtic, traditional, Recorder virtuosa Pamela Thorby Renaissance & Medieval melodies. Healing Muses. combines forces with Andrew Lawrence ____RENAISSANCE GLORY: CHRISTMAS WITH THE FESTIVAL CONSORT Voices, recorders, crumhorns, shawms, brass, strings, hurdy-gurdy. 2006. King for a very attractive CD of music ____WILDES HOLZ– HIN UND WEG by Van Eyck, Ortiz, Castello, Dowland, Tobias Reisige, recorder. One of Germany's finest acoustic music trios puts the recorder Schop, Bassano, Marini and Fontana. in unusual musical contexts—Swing, Bebop, Calypso, Rock. The emphasis is on blazing technique in the service of musicality. Pieces by Bas- Please indicate above the CDs you wish to order, and print clearly the following: sano and Castello are notated divisions/ Name:______Daytime phone: (____) ______diminutions in the tradition of the works Address: ______City/State/Zip:______on the disc by Boragno reviewed above. Check enclosed for _____ single CDs x $____ = $______Thorby’s lively approach to _____ 2-CD sets x $____ = $______ornamentation in the Ortiz Recercada TOTAL $______secunda de tenore makes it clear that Please charge the above amount to my MasterCard, Visa or AmEx: #______this is a modern performance, not one Exp. Date: ______Cardholder’s signature:______restricted to performance practice of Order CDs using PayPal at www.americanrecorder.org/order/cdroms.htm. earlier times. Of the four Van Eyck Mail to: ARS, 1129 Ruth Dr., St. Louis, MO 63122-1019 U.S. pieces, only one is performed as an Fax a credit card order to 314-966-4649.

www.AmericanRecorder.org November 2009 29 unaccompanied recorder work. The others have accompaniment by harp That wasn’t rock and (on Boffons) psaltery. The effect of the whole recording is lighthearted and roll, and this isn’t and engaging. recorder music. Instead MOZART FLUTE QUARTETS. of this CD, enjoy one MICHALA PETRI, RECS; CAROLIN WIDMANN, of the fine recordings of VIOLIN; these Mozart quartets ULA ULIJONA, by traverso players. VIOLA; MARTA I find myself puzzled—given the SUDRABA, technical skills that Michala Petri brings ’CELLO. Our Recordings 6.220570, to the recorder and her genuine talent in 2008, 1 CD, 59:09. $16.98 (CD), presenting recent compositions—at this $8.99 (mp3 download). release, as well as her numerous other www.ourrecordings.com recordings of standard 19th-century “What’s my percentage?” is the repertory. quote Claus Johansen speculates When there is so much music out would have been Mozart’s response in the world that really calls out for a when told that his flute quartets would recorder, and so many other recordings be performed and recorded with a of these standard repertory pieces, recorder substituting for the traverso. why spend resources to produce these recordings? I am not convinced that it should be done just because it can be done—any more than Beatles fans were Strings & Early Winds with the Longines Symphonette’s 1974 R recording By the Beatles. That wasn’t rock Modern/Baroque Strings Viols Vielle and roll, and this isn’t recorder music. Küng Moeck Mollenhauer Paetzold Yamaha Ehlert Instead of this CD, enjoy one of E Wenner Baroque flutes the fine recordings of these Mozart Wendy Ogle Lu-Mi Ifshin Snow quartets by traverso players such as Nancy Hadden, Jed Wentz or C Competitive Prices Barthold Kuijken. Sent on Approval Personalized Service & Advice O Each CD review contains a header with some or all of the following information, as available: disc title; composer (multiple composers indicated in review text); R name(s) of ensemble, conductor, performer(s); label and catalog number (distributor may be indicated in order to help D your local record store place a special order; some discs available in the ARS CD Club are so designated); year of issue; total timing; suggested retail price. Many CDs E are available through such online sellers as www.towerrecords.com, www.cdnow.com, www.cdbaby.com, www.amazon.com, etc. R Abbreviations: rec=recorder; dir= Lazar’s Early Music director; vln=violin; vc=violoncello; (866) 511-2981 [email protected] vdg=viola da gamba; hc=harpsichord; www.LazarsEarlyMusic.com pf=piano; perc=percussion. Multiple S reviews by one reviewer are followed by 425 N. Whisman Rd., #200, Mtn. View, CA 94043 that reviewer’s name.

30 November 2009 American Recorder Chapters & Consorts ______From the mountains to the prairie, ocean and desert, ______recorders played in meetings, workshops and other events The 35 regular participants at the sance masses and Rochester (NY) Chapter bi-monthly sessions on women meetings had a wealth of musical composers have also opportunities during the 2008-09 been particular season. In addition to the normal favorites. offerings for each meeting, we were March brought fortunate in being able to sponsor Larry Lipnik (in two workshops given by teachers photo at right, at left from New York City. near the front in dark In fall 2008, we enjoyed a work- jacket) for a workshop shop by Martha Bixler (at right in of themes and varia- photo below). The rewarding day of tions plus other playing music old and new from South consort music from and North America brought a Latin the Renaissance and American Indian song and New Baroque. Showing World Spanish piece (both anony- how Gregorian chant, mous), various folk melodies, and for example, served as pieces by the 20th-century Brazilian thematic material for composer Lacerda, to A Day in the later religious music, Park by LaNoue Davenport, and a Lipnik led the group piece based on a whimsical Moondog in early composers such as Obrecht during a second hour. Ensemble round. and Josquin. The lovely sound of choices depend on the interests of our Bixler has continued her tradi- eight-foot instru-ments enhanced our volunteer teachers—last year they tion of journeying to Rochester for enjoyment of Palestrina and Gabrieli, included a mixed instrument group, long weekends to provide individual while lighter dances of Schein ended a a class on canons, and contemporary instruction and consort coaching, fine day of music-making. pieces written exclusively for recorders. including a Saturday morning mini- A special opportunity occurred in A brief time between sessions features workshop on a particular topic. Twice fall 2008 when the Rochester Oratorio a “mini-performance,” a chance for the group had 18 bass recorders— Society sought recorder players to play anyone or any group to play for an what a sound! Recently the participants in Britten’s Noye’s Fludde. Nine chapter interested and supportive audience. played music of Lassus, but Renais- volunteers rehearsed rigorously and The year ends with a public participated in the concert that highlights each class in the performance, while Neil chapter, but also provides an oppor- Seely executed the dove’s tunity for outside consorts to perform. part, flutter-tonguing Renaissance compositions reigned included, with great supreme at last year’s concert, but the aplomb. 20th century was well-represented, The usual schedule while Baroque masters and even for each meeting includes Mozart delighted the audience, hour-long technique as well. classes at various levels Liz Seely and consort playing

www.AmericanRecorder.org November 2009 31 room schoolhouse, estab- fourth visit for workshops sponsored lished by German immi- by the Aeolus Recorder Konsort. grants in the 1850s, called Using the theme “Tutti-Frutti— the Französenbusch Italian Music from the 14th-18th (“Frenchman’s Woods”) Centuries,” Blaker led the group in schoolhouse. Located in music by composers such as Landini, Westchester, IL, the Tromoboncino and Gesualdo. In House and museum are observance of Play-the-Recorder backed by the 8000-year- Month and the ARS’s 70th year, the old Wolf Road Prairie. It group also played Thank You, ARS! On September 19, former members is open to the public for a walk down a by Carolyn Peskin. (Participants posed of Musickes Merrie Companions path through the prairie and to view in front of the fountain at the main library (l to r in photo above, Louise Austin, material relating to the history of the of the Central Arkansas Library System, Carol Stanger, Larry Johnson, Anne House and the area. below left, in a photo by Don Wold.) Green, Nancy Chabala) went prairie- The music was a big success. The On June 6, 16 people from style when they assembled to play group has been asked to play again, Arkansas, Louisiana and Texas recorder and krumhorn in mid-19th- suggesting that the Renaissance wind attended a one-day play-in at Wieder- century garb at the Prairie House band now blows in prairie wind style! kehr Winery in Arkansas. The annual Museum and Nature Center. Twenty enthusiastic recorder gathering is a joint event of the Aeolus This event was sponsored by the players from Arkansas, Missouri and Recorder Konsort and the Bella Französenbusch Heritage Project for Texas gathered in Little Rock (AR) Vista Recorder Consort. their annual Prairie Heritage Faire. on March 6-7 for a workshop led by In keeping with the Hui theme of The Prairie House contains a one- Frances Blaker. This was Blaker’s “Reduce, Reuse, Recycle,” Holborne, Praetorius and Debussy, as well as folk tunes and Tom Zajac's Polish Dance One, were recycled as the Honolulu (HI) Chapter provided music for the Hawaii Handweavers Hui Biannual Exhibition on May 7 in Honolulu. The music was well-received, and great pupus were munched by an appreciative band— Noel Jaderstrom, Susan Pang, David Braaten, Ann Hanson, Doug Friend, Helen Friend, Irene Sakimoto and Ann Taniguchi. (If you travel to Oahu, please join the chapter for some musical aloha at its meeting on the third Monday of the month. Call president Irene Sakimoto at 808-734-5909 for meeting details.) The Desert Pipes (Phoenix) Chapter hosted a workshop with Darlene Tillack on April 4. ARS Board member Bonnie Kelly was visiting there, and took the opportunity to present the chapter with a certificate for their 40 years of ARS association, knowing that the chapter had no one to receive the certificate at the ARS conference in the summer. At right, two of the chapter’s former music directors—from left, Richard Probst and Darlene Tillack—pose with Bonnie Kelly and chapter president George Gunnels, holding certificate.

32 November 2009 American Recorder ARS Membership Enrollment and Renewal I am a new member I am or have been a member

U.S./Canadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Foreign Two Years $80 Two Years LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1,000 (2) $1,500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1,200 (4) 4 installments of $200 available (1) For members who have maintained membership for five consecutive years. (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available

Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership $25 U.S./Canadian One Year $125 One Year Business Membership $45 U.S./Canadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name

Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not release my email address for any purpose Do not contact me via email.

My address, telephone and email address have not changed.

______Name Phone Number ______Address/City/State/Postal Code Email Address

Please charge to: (Circle one) VISA/MasterCard/AMEX/Discover Last May, 43 musicians met and made music in Estes Park (CO) at the CC#:______Expiration Date: ______Greater Denver Chapter “Rocky Signature of cardholder:______VIII” workshop. Besides almost two Clearly Print Name as it appears on Card:______days of sessions (fugues, madrigals, Renew by Mail, Online, By Phone or by Fax New World music, original music, Demographic Information jazz, Bach), there was drop-in playing (optional information collected only to enhance ARS services and provide statistics to grant makers): on arrival led by Karl Reque, spectac- ular evening “big band” events led by I am a member of ARS Chapter or Consort______ I am the Chapter Contact Ken Andresen and Mark Daven- My age: Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) port (top and bottom above, photos by Please check all that apply: Nick Nickless), and Nancy Ekberg I am a Professional Recorder Performer. leading “The Pious and the Profane” I wish to be included in the list of Recorder Teachers in the ARS Directory and website. on Sunday. I Teach: (circle your choices) The Austin (TX) Chapter cele- Types of Students: Children High School Youth College Students Adults Levels: Beginner Intermediate Advanced Pre-Professional brated its 50th Anniversary twice last Types of Classes: Individuals Children’s Classes Adult Classes Ensembles spring. The March celebration with Certifications: Suzuki Orff JRS Leader Kodaly the ARS Board in attendance was Where I Teach: : (circle your choices) reported in the May ARS Newsletter. Music Studio Public or private school Community Music School At the chapter’s May concert College Other : ______meeting, the celebration continued American Recorder Society Phone: 314-966-4082 by focusing on honoring the group’s Fax: 314-966-4649 1129 Ruth Dr. TollFree: 800-491-9588 founding members. Gifts for Don St. Louis MO 63122-1019 [email protected] and Natalie Morgan were presented www.AmericanRecorder.org

www.AmericanRecorder.org November 2009 33 American Recorder Society Publications Erich Katz Contemporary Music Series Members Non-Members A Short Tale for Two Basses Suzanne M. Angevine (Level II) (2 scores) $5 $8 Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score & parts) $10 $18 Dorian Mood Sally Price (SATB) (Level II) (score & parts) $10 $18 Double Quartet for Recorders Peter Ballinger (Level II-III) (score & parts) $10 $18 Entrevista Frederic Palmer (SATB) (Level II) (2 scores & 4 recorder parts) $8 $14 Kyrie and Vocalise for Soprano Voice &Recorders Stanley W. Osborn $8 $14 (SATB) (Level II) (2 scores & 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score & parts) $5 $8 Six Short Pieces for Three Recorders edited by Alan Drake $8 $14 (3 scores) Vaclav Nelhybel (AA/TT) (Level II) Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12 (Level II) (2 scores) Sonatine for Three Altos Lee Gannon (Level III) (score & parts) $14 $26 Suite of Jewish Folk Tunes Erich Katz (S S/A8 A/T) (Level II) (three scores) $10 $18 Musical Editions from the Members’ Library: ARS members: 1 copy-$3, 2 copies-$4.50, 3-$6, 4-$7.50, 5-$10, 6-$11.50 Non-members (editions over 2 years old): 1 copy-$5, 2 copies-$8.50, 3-$12, 4-$15, 5-$19.50, 6-$23 The ARS is happy to provide photocopied enlargements of any Members’ Library edition at the same prices. Please specify “Members’ Library Enlargement.” Arioso and Jazzy Rondo (AB) Carolyn Peskin Los Pastores (S/AAA/T + perc) Virginia N. Ebinger, arr. Berceuse–Fantaisie (SATB) Jean Boivert New Rounds on Old Rhymes (4 var.) Erich Katz Bruckner’s Ave Maria (SSATTBB) Other Quips (ATBB) Stephan Chandler Jennifer W. Lehmann, arr. Poinciana Rag (SATB) Laurie G. Alberts Canon for 4 Basses (BBBB) David P. Ruhl Santa Barbara Suite (SS/AA/T) Erich Katz Dancers (AT) Richard Eastman Sentimental Songs (SATB) David Goldstein, arr. Different Quips (AATB) Stephan Chandler Serie for Two Alto Recorders (AA) Frederic Palmer and were accepted by Natalie. Due to Elegy for Recorder Quartet (SATB) Carolyn Peskin Slow Dance with Doubles (2 x SATB) Colin Sterne Elizabethan Delights (SAA/TB) Sonata da Chiesa (SATB) Ann McKinley ill health, Don was unable to attend. Jennifer W. Lehmann, arr. S-O-S (SATB) Anthony St. Pierre Fallen Leaves Fugal Fantasy (SATB) Dominic Bohbot Three Bantam Ballads (TB) Ann McKinley A special tribute for them con- Four Airs from “The Beggar’s Opera” (SATB) Three Cleveland Scenes (SAT) Carolyn Peskin tinued with a performance by Daniel Kearney Smith, arr. Three in Five (AAB) Karl A. Stetson Gloria in Excelsis (TTTB) Robert Cowper Tracings in the Snow in Central Park (SAT) Johnson (standing above), artistic Idyll (ATB) Stan McDaniel Robert W. Butts Imitations (AA) Laurie G. Alberts Trios for Recorders (var.) George T. Bachmann director of the Texas Early Music In Memory of Andrew (ATB) David Goldstein Triptych (AAT/B) Peter A. Ramsey Lay Your Shadow on the Sundials (TBgB) Two Bach Trios (SAB) William Long, arr. Festival and Texas Toot workshops. Terry Winter Owens Two Brahms Lieder (SATB) Thomas E. Van Dahm, arr. Leaves in the River (Autumn) (SATB) Erik Pearson Variations on “Drmeš” (SATB) Martha Bishop He chose to perform As Time Goes By, LeClercq’s Air (SATB) Richard E. Wood Vintage Burgundy (S/AS/ATT) Little Girl Skipping and Alouette et al (SATBcB) Jennifer W. Lehmann, arr. by John Dowland, for Natalie and Timothy R. Walsh Purcell’s Evening Hymn for Don. ARS Information Booklets: After the program, the certificate ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 Non-members: 1 booklet-$18, 2 booklets-$33, 3-$44, 4,$55, 5-$66, 6-$76, 7-$86 presented at the March meeting by Adding Percussion to Medieval and Improve Your Consort Skills Susan Carduelis ARS President Lisette Kielson was Renaissance Music Peggy Monroe Music for Mixed Ensembles Jennifer W. Lehmann American Recorder Music Constance Primus Playing Music for the Dance Louise Austin on display for the members to view Burgundian Court & Its Music Judith Whaley, coord. Recorder Care Scott Paterson while conversation and celebration Education Publications cake were enjoyed. The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). First copy free to ARS Members (mailed to new members as they join); replacement copies, $3. Guidebook to the ARS Personal Study Program (1996). Material formerly published in the Study Guide and Study Guide Handbook, plus additional resources. Members, $11; non-members, $20. ARS Music Lists (2002 with 2003 Supplement). Graded list of solos, ensembles, and method books. Members $9; non-members, $15. CHAPTER NEWS Package Deal available only to ARS members: Guidebook and Music Lists/Supplement ordered together, $16. Junior Recorder Society Leader’s Resource Notebook. Chapter newsletter editors and publicity ARS members, $20; non-members, $40 (updates at reduced rates after initial purchase). $5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+). officers should send materials for publication to: AR,7770 South High St., Videos Centennial, CO 80122-3122, 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 [email protected]. month by sending $5 to the ARS office along with the address to which the tape should be shipped. Also send short articles about specific Pete Rose Video. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recital. Features Rose performing a variety of music. and an interview of him by ARS member professional John Tyson. activities that have increased chapter membership or recognition, or just the Other Publications Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering forming an enjoyment your members get out of being ARS chapter. ARS members, $10; non-members, $20 (updates free after initial purchase). One free copy sent to part of your chapter. Digital photos each ARS chapter with 10 members or more. Consort Handbook. Resource on consort topics such as group interaction, rehearsing, repertoire, performing. should be at least 3”x4”x300dpi TIF or ARS member prices: CD, $10; hard copy, $20; combo price of CD and hard copy ordered together, $25. unedited JPG files. Please send news to the 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. AR address above, and to the following: Either single volume: ARS members $23; non-members, $28. ARS Office, 1129 Ruth Drive, Both Discography volumes together: ARS members only, $40. American Recorder: Cumulative Index for Vols. I-XXXX. ARS members, $20; non-members, $32. St. Louis, MO 63122-1019, Index Supplement, Vol. XXXIV-XXXX. ARS members, $8; non-members, $14. ARS.recorder@ Shipping & Handling Fees AmericanRecorder.org; Under $10 - add $3; $10-19.99 - add $4; $20-29.99 - add $5; $30-39.99 - add $6; $40-49.99 - add $7. All prices are in and to Bonnie Kelly, Chair, U.S. dollars. For Canadian or foreign postage, pay by credit card and actual postage is charged. Please make checks payable to ARS. VISA/MC/AMEX/Disc also accepted. Chapters & Consorts Committee, ARS, 1129 Ruth Drive, St. Louis, MO 63122 U.S. 45 Shawsheen Rd. #16, Bedford MA 800-491-9588 [email protected] 01730, [email protected].

34 November 2009 American Recorder The Los Angeles Recorder Orchestra (LARO) saluted the animal kingdom as part of its summer concert at St. Bede’s Episcopal Church in Los Angeles, CA. The program was the 31-member orchestra’s 16th concert since its founding in 2004. Directed by Thomas Axworthy, “Bestiarum Vocabulum” (A Com- pendium of Beasts) also introduced the newest, and lowest, instrument in the recorder orchestra—a subcontra bass. With music that spanned several centuries, the program included Frederick Delius’s 1912 tone poem On Hearing the First Cuckoo in Spring. Backing up a few centuries, Contrapunto Bestiale alla mente is a special collection of beasty Renais- sance tunes including Silver Swan and Sweet Suffolk Owl. The Three Ravens is a popular ballad from the 17th century, which has been edited to demonstrate our low recorders: great bass, contra bass, subgreat bass, and our newest recorder, the subcontra bass. This last instrument was developed in the 21st century. Explained Axworthy: “This subcontra bass recorder was designed and built by the Paetzold firm using the square pipe design as seen (and heard) on pipe organs. This recorder is two octaves lower than the familiar bass recorder and was never built in the Renaissance or Baroque eras.” The program also included Mussorgsky’s popular Pictures at an Exhibition and, moving to Hollywood, Irving Berlin’s Cheek to Cheek written for Fred Astaire in the movie musical Top Hat. Connie Koenenn Mark Walter, LARO’s subcontra bass player, is 5’10”, but he is almost dwarfed by his recorder, which made its debut at the last concert. Photo by George Noller.

... are also available at The Early Music Shop of New England, Brookline, MA

AESTHÉ 367-b de la Briquade Blainville, Québec Canada J7C 2C7 tel: (450) 979-6091 www.boudreau-flutes.ca

www.AmericanRecorder.org November 2009 35 Music Reviews ______The pipes are calling, ______and the British are coming

PIPEAUX 1934: MÉLODIES, BY countries, including the U.S. (www.am Ibert (1890-1962), scored for four pipes MILHAUD, IBERT, POULENC, ET AL. ericanpipersguild.org; see the May (first treble in D, second treble in G, alto Éditions de L’Oiseau Lyre (www.ois 2003 AR for an article on bamboo pipes in D, and bass in G). The parts for the esaulyre.com), 1934 & 2006. Various by Charlotte Polletti). D pipes have a key signature of two recs, mostly with pf. Sc 21 pp. Abt. $35. Pipeaux Mélodies was first published sharps (usually indicating D major), and This little book is one of the most in Paris by an Australian, Louise B. M. those for the G pipes have one sharp (G interesting editions that have come my Dyer (1884-1962), founder of Éditions major). Is this a bi-tonal piece? Or could way for review. The attractive red cover de l’Oiseau-Lyre. Dyer’s goals were to the key signatures imply that the pipes entices with reproduction signatures of publish scholarly editions of early music are transposing instruments (where the the seven early-20th-century French and works by young contemporary com- music itself is transposed so that D and composers represented within: Darius posers, which she often commissioned. G pipes can use the same fingerings)? Milhaud, Albert Roussel, Jacques Ibert, In answer to my questions about Dyer’s On examination, this piece is clearly Georges Auric, Francis Poulenc, P.-O. 1934 edition of Pipeaux Mélodies, current in G major and seems to work well as Ferroud and Henri Martelli. Published president of the firm Kenneth Gilbert notated on AATB recorders. In the first in 1934, it contains seven miniature wrote: “Mrs. Dyer did not herself play section, which is a duo for the top two pieces—were they meant for recorder? the pipes, but she was very interested in parts, all C s in the first treble are made No, they were written for bamboo the instrument for educational purposes natural. The second section of the piece, pipes—which are similar to recorders, and published several other small a duo between the bottom parts, modu- but simpler, with a wider bore and more collections for it. She commissioned lates to E major (C and D occur as limited range, and always constructed these pieces as part of her ongoing accidentals). Then all four parts play by the players themselves. In the 1920s, interest and encouragement for several together in the third section with all C s an English woman, Margaret James, young French composers of her time made natural, ending the piece firmly in “invented” the instrument based on who were just then becoming known.” G major. traditional goatherds’ pipes. Inspired The first piece in the collection, A “Scherzo” by Georges Auric by the Arts & Crafts Movement, she “Exercice Musical” by Darius Milhaud (1899-1963) follows. Auric was a mem- taught school children and adults (1892-1974), is for a pipe in D (playable ber of “Les Six,” a group of French how to make, decorate and play on a C recorder) and piano. It is a good composers that included Milhaud, their own bamboo pipes. intonation exercise because the right Poulenc and Honegger. This is a some- Eventually they were constructed hand of the piano often doubles the mel- what longer piece, where the piano really in all sizes from sopranino to great bass ody. A few fast scales for the recorder shines with a rippling accompaniment and played together in ensembles, like and interesting keyboard harmonies add against a simple soprano recorder (or recorders. The most famous piece challenges and beauty to this generally pipe) melody. composed for bamboo pipes is Ralph easy etude. Francis Poulenc’s (1899-1963) Vaughn Williams’s Suite for Pipes, which All of the pieces in this book are, wonderful contribution to this collection is often played on recorders. The Pipers’ regretfully, very short; the second one is is a “Villanelle” for one pipe (C recorder) Guild, which James founded in 1932, the shortest—only 19 measures long. It and piano. This is an amazing little still exists (www.pipersguild.org), and is by the earliest composer represented piece, with great variety in its 36 meas- there are similar organizations in many here—Albert Roussel (1869-1937). His ures. It begins with a pipe solo using only “Pipe in D Major” is for a treble pipe six notes (G A B C C D). Then the The and piano. This lovely melody can be pianist joins in gradually with a single Recorder Magazine played on soprano or alto recorder (up an countermelody, working up to lush we invite you to visit the site octave) over an equally lovely piano part. chords until the end of the piece. www.recordermail.demon.co.uk The only ensemble piece in this Pierre-Octave Ferroud (1900- collection is a “Pastoral” by Jacques 1937) was a composer, critic and pro-

36 November 2009 American Recorder QUARTET FOR RECORDERS, mental agility, the Quartet can indeed be Where else are you STEPHEN WATKINS. Moeck 1614, mastered with practice. The “Lament” going to find original ISMN M-2006-1614-9 (Magnamusic), and the “Scherzo” contain fewer tricky pieces for a recorder-like 2008. SATB. Sc 20 pp, 4 pts: S 9 pp, gestures and could be accessible to ATB 8 pp ea. Abt. $24.15. motivated intermediate players. This is instrument by such Stephen Watkins’s Quartet for not, however, a work for general work- famous French Recorders presents an interesting compo- shop, nor chapter sight-reading sessions sitional blend of the old with the new. In or an introduction to contemporary composers? the Preface to the edition, he describes it music for the uninitiated. as a suite in the traditional sense of a col- The “Intrada,” which the composer moter of modern music of his time. His lection of dances, but with an unusual refers to as the “Intrada Nervosa” in the “Pas redoublé” calls for two “pipeaux en programmatic twist. While two of the cover notes, is a daunting introduction to Ré,” indicating by means of a D major pieces, the “Intrada” and “Hoe Down,” the suite. Watkins says that it is a musical scale that those parts (notated in C do indeed resemble conventional dance portrait of a friend who desires to be major) must be transposed up a step to forms, the dance relation is less clear in pompous but cannot really carry it off. match the keyboard part, which is in D the “Lament,” “Wiegenlied” (or cradle- Nervousness is articulated through major. That is easy enough to do, even song), and the final “Scherzo.” Brief shifting and cross rhythms. It is quite at sight. The piano part is marked descriptions of the extramusical events dissonant and cannot be described as “Alla Marcia” and “leggiero,” while the or persons they are intended to portray melodic. recorders are instructed “ben ritmico,” are given for each of the works. The primary challenge, however, making this a very dramatic piece. Overall, the suite is characterized lies in the rhythmic changes, which occur The last piece, apparently one of by shifting and cross rhythms, a high in almost every measure. The metro- “3 Mélodies pour pipeau” by Henri degree of chromaticism, dissonance and nome marking gives the quarter note at Martelli (b. 1895), is for soprano pipe fast tempos. It exploits both the upper 130 and is the only rhythmic indicator. (recorder) and piano. As in all the other and lower registers of the instruments— Once again—and I have commented on pieces in this volume, a clever accompa- as is often true of modern compositions, this issue in the past—the absence of niment adds spark to a simple melody dynamic markings and slurs are integral specific note value equivalences for played on a simple instrument. elements. metrical changes is problematic. The Most of these pieces are easy Though the composer states that the meter changes from 3/4 to 6/8, 2/4 enough for novice recorder players and pieces are not especially difficult, dif- and 4/4 in the first part of the piece. intermediate-level pianists, but they are ficult is a relative term when it comes to The immediate performance sophisticated musically. A carefully modern styles. For advanced players who question is how to identify the under- selected group of them would add an are accustomed to the contemporary lying tactus. Did the composer intend interesting contrast to the typical rhythmic and chromatic idioms that measure equivalence and thus a change recorder concert of early music. require both technical prowess and from a triple to a duple division of the The review copy came with one score only, and page turns are necessary for most of the pieces even though they From the composer of are very short. So a separate recorder Berceuse-fantaisie

part would be very helpful. For a small These titles are also available: book, the price is expensive, particularly if two copies are necessary for perfor- Contrariétés mance, but where else are you going to Honeysuckle Music Trio for Sopranino, Soprano find original pieces for a recorder-like & Alto recorders instrument by such famous French Recorders & accessories composers? ... Dispositions Connie Primus received the 2006 ARS Music for recorders & viols For unaccompanied solo Presidential Special Honor Award, and is recorder a former President of the ARS. She served Jean Allison Olson 1604 Portland Ave. By Jean Boisvert on the ARS Board for 14 years. She has St. Paul, MN 55104 taught music to adults and children and 651.644.8545 For information: has performed on recorder and flute for [email protected] [email protected] many years.

www.AmericanRecorder.org November 2009 37 larger tactus? Or should the player The rhythm is straightforward. COMPLETE OPUS 2 DUO “think” of the eighth note as the Most of the time, the rhythms are the SONATAS, 1727 (TWW 40: 101- essential unit, thus retaining the quarter same between two or more of the lines, 106) + SONATA FROM DER note pulse even when the obvious thus making it a bit easier to stay GETREUE MUSIC-MEISTER division of the measure is duple? The grounded. No one part predominates (TW 40: 107), BY GEORG PHILIPP use of 3/8 and 7/8 later in the piece melodically. It is a satisfying final state- TELEMANN, ED. BERNARD THOMAS. (along with the quarter-note tempo ment to the suite. Dolce, DOL 707 (Magnamusic), 2007. marking) would suggest the latter but The layout of the edition is clear, AA. Sc 60 pp. $15.75. not definitively so. Unfortunately, this and the score and parts are easy to read. LA VILLEGGIATURA: lack of clarity adds an unnecessary The relative lengths of the individual 6 SONATE PER 2 FLAUTI complexity to an already difficult work. pieces make for a somewhat unusual DOLCI CONTRALTI, BY ROBERT The “Lament” is intended to per- arrangement in the parts. Each one VALENTINE, ED. NICOLA SANSONE. sonify the boatman of the River Styx, except the soprano, which has an extra Ut Orpheus Edizioni, ISMN 979-0- and the bleakness of death is conveyed page, consists of two double-sided 2153-1570-9 (www.utorpheus.com), through the repetitive rhythms of the folded sheets. The “Hoe Down” begins 2008. AA, Sc 42 pp. Abt. $30. lower parts. The soprano has the melody on the fourth page and requires two La Villeggiatura by Robert Valentine throughout and is the most technically pages. To accommodate this, the part and Georg Philipp Telemann’s Opus 2 challenging line. The harmonies in the is split between the two sections. It is and Sonata in B are Baroque works for “Lament” are beautiful, and the overall a tad confusing at first but is really the two melody instruments without bass effect is quite lovely. only effective solution. that represent very different stylistic Cover notes in English, German perspectives. Telemann’s complete Opus It is melodically pleasing, and French are brief. A photograph and 2, published in 1727, and the Sonata in B short biography of the composer are also (1728-9) were written for transverse rhythmically bouncy and included. We learn from these that flutes, recorders or violins, as was the Watkins, born in 1954, currently lives custom for instrumental music of the sounds like a hoe down. in Germany and is the director of a period. La Villeggiatura, on the other music school. He graduated from the hand, was composed specifically for In the “Hoe Down,” all parts are Guildhall School of Music, where he two flutes/recorders. According to the challenging and fun to play. There are studied recorder, trombone and compo- edition’s cover notes, it was intended for some great chromatic descents and sition. He also plays ’cello and has the personal use of a prominent amateur ascents that are distributed evenly among composed extensively for strings, recorder player, Antonio Paolo Parensi, the various instruments. It is melodically modern winds and recorder. and most likely had a didactic purpose. pleasing, rhythmically bouncy and The Quartet for Recorders is a chal- La Villeggiatura comes from a set sounds like a hoe down. Our ensemble lenging modern work that requires con- of handwritten manuscripts of recorder chose it and the “Lament” to pursue siderable facility on both the individual music that originally belonged to the further. Unfortunately, there are similar and group levels. The interest lies not so Quilici family of Lucca. The manu- rhythmic issues to those found in the much in the melody but in the dissonant scripts are currently located in the “Intrada,” but they are less frequent. harmonies, complex rhythms and atten- Biblioteca Palatina in Parma, Italy. The “Wiegenlied” conveys the tion to dynamics and accents. It is also Though Valentine was born in England, sense of a lullaby, albeit a somewhat quite long, but the individual sections he lived in Rome and Naples for the dissonant one. The soprano line predom- work independently, and so one or two majority of his professional career. He inates in this piece, occasionally pairing of them could be included on a concert was known to have performed both as an with the alto. Thirty-second notes program. oboist and flute/recorder player, and was appear, but they are not especially As is generally the case with modern active as a teacher. intimidating. music of this type, performing it both The editor states that Valentine was According to the cover notes, the requires and develops technical skill and popular with amateur musicians on “Scherzo,” which is entitled “Democ- mental flexibility. Thus interaction with account of his ability to combine “bril- racy,” was inspired by early democratic the dissonant sounds, chromatic writing liant and pleasant writing with a relative processes in which everyone was and rhythmic virtuosity is worth the easiness of performance in fast tempos,” required to vote and in which every vote effort because it enhances one’s technical along with delightful melodies and was equal. Equality does indeed prevail proficiency, musicality and awareness of expressive light and shade in the slow here. the immensely diverse and broad range movements. She indicates that the pieces of the recorder repertory. in the edition display these qualities. 38 November 2009 American Recorder The didactic function of the selec- The edition itself is nicely done. tions that make up La Villeggiatura is The printing is clear, and, while page Both of the above evident in the compositional style. The turns are inevitable, many of the editions are worthwhile parts are highly imitative, but the more movements are made to fit on two pages. difficult pitches (high C and above) and The editor includes substantial additions to the the trickier rhythmic figures are almost background in Italian and in English repertory of modern always articulated first by Recorder 1. about the manuscript sources and recorder players. For example, in the last movement of Antonio Parensi, the early recorder Sonata I, 32nd notes are introduced and player, as well as detailed notes on the It is always fun repeated a number of times by the top editorial decisions regarding ficta and (and practical) to part before appearing in the second line. ornamentation. She gives few biograph- This strategy would enable the student ical details about the composer, and she have music for two to hear and follow the more difficult ges- does not include information about altos without continuo. tures without the stress of sounding the herself. Though this latter is not a crucial pitches in the instrument’s highest range. omission, it is always nice to know ample opportunities for ornamentation The parts could then be exchanged. something about the professional that should be worked out for the La Villeggiatura is not especially background of an edition’s editor— individual parts. difficult and could be easily negotiated especially as the source is Italian and thus The Dolce edition of the Telemann by strong intermediate players. not so familiar to American readers. works is laid out well. As with the As far as the editor’s assertion that In contrast to the relative simplicity Valentine, page spacing is especially Valentine was known for brilliant and and transparency of Valentine’s La Vil- user-friendly. Cover notes by Bernard melodically interesting writing, I played leggiatura, the six sonatas in Telemann’s Thomas are brief, in English only, and through this music with two different Opus 2 and the additional Sonata in B deal primarily with the sources of the accomplished players, and we were are dynamic, melodically captivating works. Thomas does indicate that the unable to agree with that conclusion. and technically challenging even to expe- edition transposes the pieces up a minor The pieces are pleasant, but we did not rienced recorder players. According to third and that this is consistent with the find them to be particularly interesting – the New Grove Online, Telemann had composer’s inclusion of alternative clefs even when we played them with con- strong pedagogical tendencies and had for various instruments. scious attention to expressiveness, planned to write a series of treatises Both of the above editions are shading and maintaining quick tempos. (never completed) that would explore worthwhile additions to the repertory In our view, they would make good the ways in which the limits of various of modern recorder players. It is always teaching selections and would also serve instruments could be exploited. fun (and practical) to have music for as introductory material for early Recorder players familiar with Tele- two altos without continuo. While the intermediate recorder players seeking mann’s music know that he does exactly Valentine is primarily useful as a teaching to explore the Baroque repertory. that—exploiting both the upper and collection, the Telemann can serve both lower ranges of the recorder, and chal- a didactic and a performance function. lenging even the best musicians with For advanced players, mastering fast tempos and difficult melodic pas- Telemann is both a challenge and a sages that are sprinkled with chromatic rewarding experience, and the music is pitches/tricky fingering and rhythmic always an appropriate and interesting intricacy. addition to any concert program. All of these traits are represented in Beverly Lomer, Ph.D. is an Adjunct the sonatas in Opus 2. Indeed, they are Professor of Humanities at the Harriet L. one of the reasons why many recorder Wilkes Honors College of Florida Atlantic players are attracted to this composer. University, where she teaches courses in Though advanced musicians can music and culture. She is a recorder player read through the Opus 2 and Sonata in B and member of the Tropical Winds Consort of without too much difficulty, working the Palm Beach and the Miami-based Breve pieces up to performance level requires Stompers. Her special interests include considerably more effort. In addition to performing from original notation, folk and mastering the technical challenges (so as contemporary compositions for recorder and to play the music effortlessly), there are pre-modern women’s music.

www.AmericanRecorder.org November 2009 39 16TH-18TH CENTURY Somewhat unusually, the collec- toward the end. Words in the original EUROPEAN SONGS AND tion includes pieces for recorder solo, languages are given for several pieces. DANCES FOR DESCANT recorder duet, and recorder with con- Both collections would work well OR TENOR RECORDER tinuo. Sansone speculates that the as source books for lower intermediate (TREBLE RECORDER IN G) edition had a pedagogical purpose and players looking for attractive repertoire. AND CONTINUO, ED. NICOLA that the variety of scorings allowed for an Their usefulness as material for begin- SANSONE. Ut Orpheus Edizioni FL 4 increase in sophistication in the student’s ners, however, is compromised somewhat (www.utorpheus.com), 2008. S/T/ experience of ensemble playing. With by Sansone’s minimalist editorial poli- G-alto, bc. Sc 30 pp. Abt. $27. the exception of a somewhat demanding cies. There is very little information in 50 AIRS ANGLOIS FOR “Ground” by Gottfried Keller that relation to performance practice, espe- TREBLE RECORDER SOLO, closes the collection, the music is quite cially in regard to articulation and pro- 2 TREBLE RECORDERS, approachable at a lower intermediate— portions between differing time signa- TREBLE RECORDER AND or even, at times, a beginning—level. tures. Similarly, the continuo parts are CONTINUO, BY GEORGE The general style is characteristically unrealized and frequently incompletely BINGHAM, ED. NICOLA SANSONE. melodic, and the ensemble writing is figured. With a good teacher, these Ut Orpheus Edizioni FL 2, 2008. A, skillful and effective. points can be overcome, but those using AA, A, bc. Sc 35 pp, pt 11 pp. Abt. $30. Sansone has edited her own peda- the books unaided might miss the extra Ut Orpheus is an enterprising gogical collection with 16th-18th Century guidance. Italian publisher whose offerings are European Songs and Dances, making her As well, in neither collection is the at once scholarly and practical. Their own arrangements where necessary. music presented in order of difficulty. “Flauto Dolce” series, overseen by She has restricted the range of the music Simple and more complex pieces are Nicola Sansone, is designed to showcase from low C to the E a minor tenth mixed throughout, though the most the recorder’s flexible role as an instru- above, and has kept the rhythms rela- difficult pieces do tend to occur toward ment for students, amateurs and profes- tively straightforward. She has also the end. sionals, with a repertoire from the past found pieces that are immediately The presentation is very attractive, and present by composers well-known attractive in their use of strong bass with good paper, large print, and detailed and obscure. These two offerings are lines, such as the “Follia,“ or well-known notes. The only serious error seems to be among the first in the series, and they melodies like “Rosemont.” a wrong note in the last bar of No. 27 in show many of the strengths of this There is a fair amount of variety the 50 Airs. There is a bad page turn wide-ranging approach. in the collection, both in the style of the for No. 26 in the Songs and Dances. 50 Airs Anglois was originally music (many different nationalities are Sansone’s goals are laudable, and published in Amsterdam in 1702. San- represented) and the technical challenges she has presented some unusual and sone’s informative foreword points out presented (many different time signa- rewarding repertoire in these editions. that most of the pieces in the collection tures, sometimes even changing within As the series progresses, it can only were composed by George Bingham, a the same piece, and Van Eyck-style increase in value. member of the English Royal Court, variation sets that introduce quicker Scott Paterson teaches recorder and though pieces are also included by note motion). Again, most of the pieces Baroque flute at The Royal Conservatory of 11 other composers, among them both would suit lower intermediate players, Music of Toronto and is a freelance performer Henry and Daniel Purcell, and Nicola with a few approachable by beginners, in the Toronto area. He has written on music Matteis. and with more demanding material for various publications for over 25 years. SWEETHEART FLUTE CO.

Baroque Flutes: our own “Sweetheart” model Fifes, Flageolettes “Irish” Flutes & Whistles. Send for brochure and/or antique flute list.

32 South Maple Street Enfield, CT 06082 (860) 749-4494 [email protected] www.sweetheartflute.com

40 November 2009 American Recorder THREE LITTLE PRELUDES The music is neatly printed and easy AND FUGUES, BY JOHANN The greatest challenge in to read. Each part is one page long, so TOBIAS KREBS (FORMERLY ATTR. performing any ragtime there is no problem with page turns. The TO JOHANN SEBASTIAN BACH), tempo suggested is =132, which seems ED. NICOLA SANSONE. Ut Orpheus piece is to play the a bit fast considering the recommended Edizioni Hors Série, musica varia “not fast” tempos in my piano versions of HS169 (www.utorpheus.com), syncopations correctly. the Joplin rags. I found it very helpful to 2008. SATB. Sc 15 pp, 4 pts: S 6 pp, look at the piano version of this rag: the ATB 3 pp ea. Abt. $30. recorder players. There is a 1965 edition meter is 2/4, which explains why it is This music consists of three of the of all eight fugues (Leeds Music called a two-step, and the syncopations eight little preludes and fugues for organ [Canada] Limited, 215 Victoria Street, are much easier to read and play previously attributed to J.S. Bach— Toronto, ON) that our group has correctly from the piano score since No. 4 in F major, No. 6 in G minor, and enjoyed for many years. Of these works, the left hand music is visible and has No. 8 in B major. These short works are No. 3 in E minor is transposed to a steady eighth-note beat. now considered to be works of Johann G minor and No. 4 in F major is trans- This music is challenging for Tobias Krebs, a student of Bach in posed to G major to fit the recorder. advanced intermediate players. Groups Weimar between 1710 and 1717. It Fugues No. 2 (D minor), No. 3, No. 5 that manage to play it successfully will should be noted that Johann Tobias is (G major), and No. 7 (A minor) are all find it a very real accomplishment, even not the celebrated Johann Ludwig Krebs beautiful and challenging pieces. if they do not get the speed up to the (1713-80), the composer of complex A transcription of the five remain- suggested tempo. virtuoso pieces for the organ. Johann ing preludes not in this edition (1, 2, 3, Ludwig is Johann Tobias’s son, and 5 and 7), possibly with transposition, CHACONE FROM THE BALLET Bach’s student between 1726 and 1737. would be appreciated by intermediate DE JEUNESSE, BY MICHEL- The second of these pieces, in recorder ensembles. RICHARD DELALANDE, ARR. ANDREW G minor, was the favorite of the group ROBINSON. Peacock Press PAR-411 with which I play. The prelude consists WEEPING WILLOW, A RAG- (Magnamusic), 2006. S A A/T T B/gB. of arpeggiated chords in quarter notes TIME TWOSTEP, BY SCOTT Sc 12 pp, pts 4 pp. $22.50. along with elaborations of such arpeg- JOPLIN, ARR. JOHN NELSON. Poly- Michel-Richard Delalande (1657- gios in eighth notes—a solemn and phonic Publications (Magnamusic), 1726) was a composer, organist and impressive beginning. The fugue sub- 2002. A T T B/T B gB. Sc 4 pp, harpsichordist at the court of the French ject is more lively but should not present pts 1 p. $7. King Louis XIV. This example of his any difficulties to upper intermediate Scott Joplin (1867/1868-1917) music from the “Youth Ballet” (Ballet players. was born in northeast Texas, the son de Jeunesse) is in the chaconne form—a My fellow players were less impres- of a former slave and a free-born Black series of variations over a ground bass. sed by the other two offerings in this woman. He is regarded as the greatest The chaconne is similar in most respects collection. The F major prelude contains exponent of ragtime piano music, the to the passacaglia. Famous examples of lively, but rather boring, repeated triplets. highly syncopated music popular in these forms are the organ passacaglia in Note that there is a low E on the third America in the late 19th century. The C minor by J. S. Bach and the “Follia” beat of measure 66 in the alto voice of the music under review is an arrangement variations by Corelli. fugue; the suggestion that one half-cover for six voices of the Joplin composition. At first glance, this looks like a very the bell hole while fingering the low F The greatest challenge in perform- long work, with 233 measures. However, does work, but watch out for your teeth. ing any ragtime piece is to play the syn- a more detailed examination reveals an In the B major prelude,16th-note copations correctly. Two aids that may interesting structure: there are three runs are distributed among all voices, help the player initially are to subdivide main divisions of the piece—the first whereas in the organ score they are only syncopated passages (count eighth notes and third in G major and the second in split between the two hands; this makes instead of quarter notes) and to untie tied G minor. Each of these three main divi- playing them on recorders difficult. The notes. Syncopation starts for the top four sions is subdivided into five sections with prelude does have a nice but challenging voices in measures 6 and 7, and recurs the following instrumentation: all five six-measure (pedal) solo for the bass throughout the piece. The two bottom voices, four voices (actually the A/T and recorder, but where does one breathe? lines do not have any syncopation, so T parts are almost identical, so this is This music is not the only tran- may be assigned to less adventurous really a trio section), five, four, and five scription of these works available to players. voices, much like the ripieno and

www.AmericanRecorder.org November 2009 41 concertino sections in a concerto grosso. other notes and should give a reasonably THE EARL OF OXFORD’S Examination of the bass part shows a skilled player no problems. Suggestions MARCH, WILLIAM BYRD, ARR. IAN four-measure ground that varies in each are given for simplifying the bass part in WILSON. Prima la musica! FLA001 of the five-voice ripieno sections. This those measures. (www.primalamusica.com). 2006. music flows by very smoothly, and its The only mistake I found when SATB. Sc 7 pp. Abt. $14.60. length does not seem excessive. playing through the parts was in KINLOCHE HIS FANTASSIE, The music is neat and legible, with measure 188 in the bass part, where a WILLIAM KINLOCH, ARR. IAN two double pages per part. Thus there is low D occurs—just play that one note WILSON. Prima la musica! FLA002, only one page turn, and this is difficult up an octave, like the previous note. 2007. SATB. Sc 7 pp. Abt. $14.60. only for the two top parts. There are two The group I play with enjoyed this COURTIN TUNE (TIMON OF copies for the third part (A or T) that music. It is bright and pleasant, with ATHENS), HENRY PURCELL, appear to be identical. For the fifth part, none of the ornamentation challenges in ARR. IAN WILSON. Prima la musica! there is one regular F bass part and two some French baroque music. It does not FLA006, 2007. TTBgB. Sc 4 pp. C bass parts, one in bass clef and one in seem over-long, in spite of numbering Abt. $14.60. treble clef (to help great bass players 233 measures. It can be recommended Prima la musica!, a British pub- who do not read bass clef). to groups that may have been daunted lisher of Urtext performing editions of This music should be fairly easy for by other examples of this repertoire. early music, has recently released these intermediate players. There are some Michael Emptage has played the three arrangements made by Ian Wilson trills marked in the music, but they are recorder with his wife Cathy for many years of the Flautadors. These editions are all in parentheses and so are just suggested and has studied with Patricia Petersen and very easy to read, although the lack of ornaments. There are none of the really Linda Lunbeck. He has also studied piano parts is a problem. tricky ornaments that one sees in some and organ, and presently owns a William Byrd, one of the best and French Baroque music. In the soprano harpsichord, an instrument he studies with best-known composers of Elizabethan part, there are successive trills on Debra Throgmorton. Michael and Cathy England, wrote this now-familiar march descending notes in measures 141-144 are retired and live in Loveland, CO. in honor of the young Earl of Oxford, and 149-152, but these are separated by who was a brief favorite of the queen. It The Von Huene Workshop, Inc. is pleased to announce agreements with 7KH7 Coolsma Zamra to serve as their authorised service agents in the U.S.

For more than 40 years, the von Huene Workshop has produced some of the ﬁnest recorders in the world. Our skilled staﬀ can revoice, retune and repair even the most seriously damaged instruments. All repairs are done right on the premises, and most can be completed within a week. For warranty repairs, please include a copy of your original sales receipt.

65 Boylston Street, Brookline, MA 02445 (617)j 277-8690 Fax (617) 277-7217 [email protected]

42 November 2009 American Recorder was from the Fitzwilliam Virginal Book, followed by low C, a passage that is originally for keyboard. Many musicians The chief value of this much more easily played on a contra have arranged pieces from the Fitzwil- piece lies in its historical bass; Wilson suggests a lute or viol liam for recorders with varying degrees significance, particularly might also play the line. The top tenor of success—and, although Wilson has line requires a workable high C and is done a good job within the limitations of since we have far less also the most technically demanding such an effort, this arrangement does not music from Mary’s court with one long 16th-note passage. The work well. than from Elizabeth’s. two inner parts are fairly easy. He has confined himself as literally The tune starts very simply, as possible to the original, given the ment both in style and range and there- allowing the ground bass to dominate. exigencies of reducing handfuls of five- fore presents the opposite situation from It then builds to a technical climax and six-voice chords to four voices and the previously discussed march—effec- halfway through with the ornate top the need for occasional octave transposi- tive setting, but uninteresting music. tenor line, a pitch climax near the end tion in the bass line. It is apparent, how- The piece consists of three sections: with high notes in the tenor, and finishes ever, that the piece is idiomatic for key- beginning in duple, changing to 6/4, and with longer note values and lower pitch board and is somewhat less successful then ending with a short duple section. for the last two repetitions of the ground. when played on four recorders. One Sixteenth-note passages again Particularly pleasing are the sequence of misses the full chords and the percussive provide technical challenges, but they increasingly complex variations and the sound of the plucked strings, and a bass only occur in the first section and appear interplay of the upper parts with the recorder is too sweet and soft in the low for only one beat in the otherwise very ground. register to provide the necessary impetus simple bass line. The composer pro- This Courtin Tune would work very of the driving bass line. vided rhythmic interest in the soprano well for an intermediate-level ensemble, If you do wish to play this piece on line by shifting the accent into a triple either as a concert piece or for back- recorders, however, Wilson has done well meter against the duple of the accompa- ground music, provided an appropriate in preserving all moving lines and all nying lower parts, but unfortunately instrument is available for the bass line. essential notes in the chord structure, he didn’t know when to stop; these Anne Fjestad Peterson has a BA in and each part is a good fit for the range sequences go on for so many repetitions music education from Concordia College, of its particular recorder. The piece is that the effect becomes tedious. MN, and an MM in music history from the deceptively simple for the first few pages, The chief value of this piece lies University of Colorado. She has taught but increasingly long and difficult 16th- in its historical significance, particu- private and class recorder in Boulder, CO, note passages—typical of Renaissance larly since we have far less music from since 1974 and has performed with the keyboard style—present technical chal- Mary’s court than from Elizabeth’s. But Boulder Renaissance Consort, for whom lenges as it progresses. Only the most pity the poor Queen of Scots—not only she arranges music, since 1980. advanced of players will be able to take was Elizabeth the wiser queen, but her it at a true alla breve march tempo all musicians were more skilled as well. ZEMER ATIK AND OTHER the way through. By far the most effective of these JEWISH SONGS, ARR. BENJAMIN Queen Elizabeth’s political rival, three pieces is the theater music by THORN. Orpheus Music OMP 135 Mary, Queen of Scots, was also a vir- Henry Purcell, in which composition (www.orpheusmusic.com.au), 2005. ginal player. Mary escaped imprison- and arrangement are matched in excel- SATB. Sc 15 pp, pts 4 pp. Abt. $21.50; ment in Scotland, only to be incarcerated lence. According to Wilson, “This PDF download abt. $17.25. by Elizabeth in various English castles. Courtin (curtain) Tune comes from the The Australian composer Benja- According to Wilson, “William Kinloch masque in Timon of Athens, Purcell’s min Thorn was born in Canberra and (fl.1568-1582) was effectively one of musical setting to Thomas Shadwell’s studied at the Canberra School of Music Mary’s spies as well as being her virginal 1678 adaptation of the original Shake- and the University of Sydney. He has a teacher whilst she was in prison.” Con- speare play…. Instrumentation is not Ph.D. in Theatre Semiotics and a sidering the circumstances of Mary’s indicated [in the original anthology of Dip.Ed. He performs mostly on ultimate demise, he apparently was theater music] but most of the collection recorder and has published a number of no better at spying for her than at suits recorders perfectly.” articles on music and theatre. Thorn composing. The piece is built on a four-measure believes that there is not enough music Kinloch’s Fantassie, originally written ground bass in eighth-notes in the lowest inspired by vegetables and crocodiles. for a double manual keyboard instru- part of the great bass recorder range and I doubt that any of these traditional ment, works well in a recorder arrange- necessitates playing a low E immediately Jewish songs were inspired by either of

www.AmericanRecorder.org November 2009 43 the above, but Thorn does not provide Classified CONSIDER ADVERTISING IN translation of the titles. There are four ______songs: “Zemer Atik” (wedding dance), ______“Shalom Chaveyrim” (Peace, friends, ______’til we meet again), “Chossn Kalah ______Full page ...... $552 Mazel Tov” (congratulations, bride 2/3 page ...... $439 and groom) and “Hava Nagila” Where the haves 1/2 page ...... $366 1/3 page ...... $286 (let us rejoice). and have-nots 1/4 page ...... $223 All parts are well-composed for the 1/6 page ...... $175 of the recorder world 1/8 page ...... $127 recorders, with comfortable ranges and 1/12 page...... $ 95 interest in all voices. Intermediate can find each other 1 column inch ...... $ 58 consorts will find these arrangements Prices include web site/e-mail link directly from your ad in the online AR at enjoyable and a bit challenging— FOR SALE: Soprano, Alto, Tenor 2 keys, www.americanrecorder.org. especially a number of 7/8 bars in Moeck Rottenburg recorders ROSEWOOD. Well cared for and excellent voicing. $1200 Circulation: Includes the membership of the two of the songs. Players unfamiliar for the set of 3 recorders. Purchased from ARS, libraries, and music organizations. with this odd meter may have to Von Huene, Boston, MA. Less than ten yrs. Published five times per year: count eighth notes at first. old. Contact: Paul Ryder, Petoskey, MI, January, March, May, September, November. 231-347-5854 [email protected]. Bill Rees is music director of the Reservation Deadlines: Bella Vista (AR) Recorder Consort. SEND IDEAS for articles on education topics, December 1 (January), February 1 (March) , or submit an article or lesson plans, to April 1 (May), August 1 (September), Prior to retirement he taught woodwinds education department editor Mary Halverson October 1 (November). and music education at East Texas State Waldo at [email protected]. Rates good through November 2010. Please inquire about discounts on multiple-issue MUSIC REVIEWERS for AR needed. Reviews University (now Texas A&M at contracts, inserts, or other special requests. Commerce). He has been active in must be submitted by e-mail. Please send a Extra charges for typesetting, layout, half- brief bio with a list of the types of music tones, and size alterations. 133-line screen the recorder movement since the ’60s you are interested in reviewing to Sue recommended. Advertising subject to and served on the ARS Board. Groskreutz, 1949 West Court St., Kankakee, IL acceptance by magazine. First-time adver- 60901, or [email protected]. tisers must include payment with order. COMPACT DISC reviewers for AR needed. For more information, contact the KEY: rec=recorder; S’o=sopranino; Reviews must be submitted by e-mail. Please ARS office, 1129 Ruth Drive, St. Louis, send a brief bio with a list of the types MO 63122-1019; 800-491-9588 toll free; S=soprano; A=alto; T=tenor; B=bass; 314-966-4082 phone; 314-966-4649 fax gB=great bass; cB= contra bass; Tr= of music you are interested in reviewing to Tom Bickley, [email protected]. [email protected] treble; qrt=quartet; pf=piano; fwd= foreword; opt=optional; perc=percussion; Advertiser Index pp=pages; sc=score; pt(s)=part(s); kbd=keyboard; bc=basso continuo; Classified rate for American Recorder: 60¢ AMERICAN ORFF-SCHULWERK ASSN...... 23 hc=harpsichord; P&H=postage and per word, ten-word minimum. “FOR SALE” AMERICAN RECORDER SOCIETY. . . . . 6, 21, 25, 29, 30 handling. Multiple reviews by one reviewer are followed by that reviewer’s name. and “WANTED” may be included in the STEPHAN BLEZINGER ...... 26 Publications can be purchased from ARS copy without counting. Zip code is one JEAN BOISVERT ...... 33 Business Members, your local music store, word; phone, e-mail, or web page is two. JEAN-LUC BOUDREAU...... 18, 31 Payment must accompany copy. Deadlines or directly through some distributors . Please COURTLY MUSIC UNLIMITED...... 23 submit music for review to: Sue Groskreutz, are one month before issue date. Send copy 1949 West Court St., Kankakee, IL 60901 with payment to: ARS, 1129 Ruth Drive, EARLY MUSIC AMERICA ...... 23 U.S., [email protected]. St. Louis, MO 63122-1019. HONEYSUCKLE MUSIC ...... 33 BILL LAZAR’S EARLY MUSIC ...... 26 AMERICAN RECORDER (ISSN: 0003-0724), 1129 Ruth Dr., St. Louis, MO 63122-1019, is published KEITH E. LORAINE EARLY DOUBLE REED SERVICE . . 10 bimonthly (January, March, May, September and November) for its members by the American LOST IN TIME PRESS...... 17 Recorder Society, Inc. $20 of the annual $45 U.S. membership dues in the ARS is for a subscription to American Recorder. Articles, reviews and letters to the editor reflect the viewpoint of their individ- MAGNAMUSIC DISTRIBUTORS ...... BC ual authors. Their appearance in this magazine does not imply official endorsement by the ARS. MOECK VERLAG ...... IFC

EDITORIAL DEADLINES: November 15 (January), January 15 (March), March 15 (May), July 15 MOLLENHAUER RECORDERS ...... IBC (September), and September 15 (November). Submission of articles and photographs is welcomed. PATRICK O’MALLEY, RECORDER LESSONS ...... 3 Articles may be typed, or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes- POLYPHONIC PUBLICATIONS ...... 36 sage. They should be for the exclusive consideration of AR, unless otherwise noted. Photos may be PRESCOTT WORKSHOP ...... 17 sent as prints, or unedited JPG or 300dpi TIF files (minimum 3”x4”). Advertisements may be sent in PDF or EPS format, with fonts embedded. PROVINCETOWN BOOKSHOP...... 14 THE RECORDER MAGAZINE ...... 32 EDITORIAL OFFICE: Gail Nickless, Editor, 7770 S. High St., Centennial, CO 80122-3122; THE RECORDER SHOP...... 23 303-794-0114 (phone & fax); [email protected]. Books for review: Editorial office. Music for review: Sue Groskreutz, 1949 West Court St., Kankakee, IL 60901. Recordings for review: Tom SWEETHEART FLUTE CO...... 36 Bickley, 1811 Stuart St., Berkeley, CA 94703. Cutting Edge: Tim Broege, 212 Second Ave., Bradley VON HUENE WORKSHOP, INC...... 38 Beach, NJ 07720-1159. Chapter newsletters, other reports: Editorial office. Postmaster: Send WICHITA BAND INSTRUMENT CO...... 35 address changes to ARS, 1129 Ruth Drive, St. Louis, MO 63122-1019. Periodicals postage paid at St. Louis, MO, and at an additional mailing office. NICHOLAS WYNNE SHEET MUSIC...... 3 44 November 2009 American Recorder