spring 2015 V ol. LVI, No. 1 • www.americanrecorder.org Published by the American Recorder Society,

Editor’s ______Note ______Volume LVI, Number 1 Spring 2015 Features hear from members how much they look workshop issue forward to the spring “ ” A Higher Place of Awareness, I—here it is, covering everything from mak­ A Spirit that Soars ...... 13 ing a recorder to improving skills in many areas, musical and geographical (page 13) . The annual look at summer workshops, give or take a couple of months To be a better player, you must under­ 4 stand an important basic skill necessary for playing well in a group (or at a workshop): Departments tuning . In recent issues, Gustavo Francisco has kindly shared his expertise with AR Advertiser Index ...... 40 readers . Put on your thinking caps to learn Compact Disc Reviews ...... 27 more about the science of tuning (page 9) . Quinta Essentia Quartet, Wayward Sisters, For years, even those of us “inside” Stefan Temmingh the editorial process sometimes have been Education ...... 9 uncertain about whether a piece relating to Gustavo de Francisco digs into the science of tuning 6 chapters or consorts (or now recorder orch­ estras) belonged in the department pages of Music Reviews ...... 29 AR or in the ARS Newsletter’s frequent items Music you might aspire to play at workshops, from Ut Orpheus Edizioni, Lost in Time Press, relating to those ensembles . Confused read­ PRB Productions, and by Harold Owen ers may now find clarity, as all ensemble announcements and reports (including AR’s On the Cutting Edge ...... 24 “Chapters, Consorts & Recorder Orches­ A conversation about the Elody between guest tras”) unite in an expanded ARS Newsletter . columnists Steve Marshall and Helen Hooker It was serendipity when I was sent an President’s Message ...... 3 13 article by a composer for and a player of the ARS President Laura Sanborn Kuhlman Elody recorder (page 24); I thought their remembers her recorder friends, and encourages dialog gave an inside view of part of the us to leave a legacy recorder’s changing world . AR still seeks a Tidings ...... 4 recorderist (perhaps versed in social media, Joel Newman, 1918-2014; Piffaro to receive YouTube and other online resources) willing ARS Distinguished Achievement Award to continue the evolution of “On the Cut­ during Boston Early Music Festival; ting Edge ”. Contact me if you are interested . academic achievements by Alan Karass and Mark Davenport; Magnamusic Distributors Gail Nickless 24 continues under Boulder Early Music Shop; www.youtube.com/user/americanrecordermag Margriet Tindemans, 1951-2014 www.facebook.com/groups/177397989075511/

Gail Nickless, Editor ON THE COVER: Rubens / Brueghel de Contributing Editors Velours Jan. Hearing - Tom Bickley, Compact Disc Reviews Detail from the table with Sue Groskreutz, Book & Music Reviews • Mary Halverson Waldo, Education books and musical Amanda Pond, Line Editor instruments. El oído. 17th century. Museo del Prado- Advisory Board Pintura, Madrid, Spain. Martha Bixler • Valerie Horst • David Lasocki • Bob Marvin © 2015, Album / Thomas Prescott • Kenneth Wollitz Art Resource, NY. www.AmericanRecorder.org Copyright©2015 American Recorder Society, Inc. ARS Chapters & Recorder Orchestras Alabama Idaho North Carolina Birmingham: Les Bois (Boise): Kim Wardwell Carolina Mountains: Susan Hartley Janice Williams 205-870-7443 360-202-3427 423-612-0421 Arizona Illinois Greenville Recorder Society: Desert Pipes (Phoenix): Chicago: John Shaw 252-355-2737 AMERICAN George Gunnels 480-706-6271 Ben Eisenstein 847-998-0198 Triangle: Jan Jenkins 919-870-0759 Arizona Central Highlands—Prescott: Chicago–West Suburban: Ohio Georgeanne Hanna 928-775-5856 Kathleen Hall-Babis 630-464-1828 RECORDER Greater Cleveland: Tucson: Scott Mason 520-721-0846 Indiana Edith Yerger 440-826-0716 SOCIETY Arkansas Recorder Orchestra of the Midwest: Toledo: Charles Terbille 419-536-3227 INC. Aeolus Konsort: Marilyn Perlmutter 419-265-3537 Oregon Don Wold 501-666-2787 Louisiana Honorary President Bella Vista: Barbara McCoy Eugene: Lynne Coates 541-345-5235 479-855-6477 Baton Rouge: Oregon Coast: Corlu Collier William Behrmann 225-766-9465 Erich Katz (1900-1973) 541-961-1228 California New Orleans: Victoria Blanchard Honorary Vice President Barbary Coast Recorder Orchestra: 504-810-8540 Portland: Zoë Tokar 971-325-1060 Winifred Jaeger Frances Feldon 510-527-9029 Maryland Pennsylvania Central Coast: Margery Seid Statement of Purpose 805-474-8538 Northern Maryland: Bloomsburg Early Music Ens :. The mission of the American Recorder Society East Bay: Susan Jaffe 510-482-4993 Richard Spittel 410-242-3395 Susan Brook 570-784-8363 Massachusetts Erie: Linda McWilliams 814-868-3059 is to promote the recorder and its music by Inland Riverside: Greg Taber 951-683-8744 Philadelphia: Sarah West 215-984-8923 developing resources to help people of all ages Boston: Sara Rex 781-237-3927 Los Angeles Recorder Orchestra: Recorders/Early Music Metro-West Pittsburgh: Helen Thornton and ability levels to play and study the recorder, Matt Ross 949-697-8693 Boston: Bonnie Kelly 781-862-2894 412-486-0482 presenting the instrument to new constituencies, Mid-Peninsula Recorder Orchestra Worcester Hills: Alan Karass Rhode Island (Palo Alto): Fred Palmer 650-591-3648 508-847-8559 encouraging increased career opportunities for Nevada City: Michigan Rhode Island: David Bojar professional recorder performers and teachers, Miriam Morris 530-265-0986 401-944-3395 North Coast: Kathleen Kinkela-Love Ann Arbor: Kevin Gilson 734-780-7476 and enabling and supporting recorder playing as 707-822-8835 Kalamazoo: Annette Brown Tennessee a shared social experience. Besides this journal, Orange County: 269-762-7503 Greater Knoxville: Ann Stierli ARS publishes a newsletter, a personal study Russell Wilson 435-630-1061 Metropolitan Detroit: 828-877-5675 Redding: Kay Hettich 530-241-8107 Claudia Novitzsky 248-548-5668 Greater Nashville: Carol Vander Wal program, a directory, and special musical Sacramento: Mark Schiffer Northwinds Recorder Society: editions. Society members gather and play 916-685-7684 John MacKenzie, M D. . 231-547-7072 615-226-2952 San Diego County: Western Michigan: Jocelyn Shaw Southern Middle Tennessee together at chapter meetings, weekend Vanessa Evans 619-297-2095 231-744-8248 (Tullahoma): Vicki Collinsworth and summer workshops, and many San Francisco: Greta Hryciw Minnesota 931-607-9072 ARS-sponsored events throughout the year. 415-377-4444 Texas Sonoma County: Dale Celidore Twin Cities: Anne Mundahl In 2014, the Society celebrated 75 years 707-874-9524 651-895-5049 Austin: Dave Melanson 512-495-4180 of service to its constituents. South Bay: Liz Brownell 408-358-0878 Nevada Dallas: Alice Derbyshire 940-300-5345 Southern California: Sharon Holmes Las Vegas: Buddy Collier 702-610-6148 Rio Grande: Sylvia Burke 575-522-1742 310-379-2061 Board of Directors Sierra Early Music Society: Utah Laura Sanborn-Kuhlman, President Colorado Kathy Bohrer 775-393-9002 Utah Salt Lake: Mary Johnson Cynthia Shelmerdine, Vice-President, Boulder: Trudy Wayne 303-651-6860 New Hampshire Colorado Recorder Orchestra: 801-272-9015 Membership Chair Monadnock: Rose Marie Terada 303-666-4307 Vermont Kristine Schramel 413-648-9916 Tony Griffiths, Secretary, Marketing & Denver: Jon Casbon 719-799-6630 & Lynn Herzog 802-254-1223 Public Relations Chair Fort Collins: Pattie Cowell Monadnock: New Jersey Kristine Schramel 413-648-9916 Jennifer Carpenter, Asst. Secretary, 970-484-0305 Connecticut Bergen County: & Lynn Herzog 802-254-1223 Scholarships & Grants Chair Mary Comins 201-489-5695 Virginia Connecticut: Elise Jaeger 203-792-5606 Ann Stickney, Treasurer, Finance & Reita Powell 201-944-2027 Eastern Connecticut: Betty Monahan Northern Virginia: Edward Friedler Chair, Publications Chair Highland Park: Donna Messer 860-536-7368 732-828-7421 703-425-1324 Nancy Buss, Assistant Treasurer District of Columbia Montclair Early Music: Shenandoah (Charlottesville): Bonnie Kelly, Chapters, Consorts & Recorder Washington: Vicki Walter 301-891-1367 Julianne Pape 845-943-0610 Gary Porter 434-284-2995 Orchestras Chair, Special Events Chair Delaware Princeton: Skip Kestler Tidewater (Williamsburg): 609-683-0358 Vicki H . Hall 757-784-2698 Matt Ross, Governance Chair Brandywine: Roger Matsumoto New Mexico 302-731-1430 Washington David Podeschi, Fundraising Chair, Albuquerque: Bryan Bingham Moss Bay: James Verschaeve Strategic Planning Chair Florida 505-299-0052 253-249-4272 Win Aldrich, Web Site Nancy Gorbman Ft . Myers: Sue Groskreutz Flat & Baroque in Las Vegas: 239-676-5968 Tom Curtis 505-454-4232 Seattle: Kathleen Arends 425-649-9869 Barbara Prescott Ruth Seib Anne Timberlake Largo/St . Petersburg: Rio Grande: Sylvia Burke 575-522-1742 Wisconsin Elizabeth Snedeker 727-596-7813 Santa Fe: John O’Donnell 505-662-5745 Staff Miami: Ruth Trencher 305-665-3380 New York Milwaukee: Carole Goodfellow Orlando Consort: Sheri Grayson 262-763-8992 Kathy Sherrick, Administrative Director Buffalo: Mark Jay 716-649-1127 10000 Watson Rd., Ste. 1L7 407-299-3076 Southern Wisconsin: Greg Higby Palm Beach: Gail Hershkowitz Hudson Mohawk: 608-256-0065 Saint Louis, MO 63126 U.S. 561-732-5985 Kathryn Kuhrt 518-477-8450 Long Island: Canada 800-491-9588 toll free Sarasota: Charlotte Trautwein 941-929-9137 Patsy Rogers 631-734-7485 Edmonton: Vivien Bosley 314-966-4082 phone New York City: Gene Murrow Georgia 646-342-8145 780-439-3215 866-773-1538 fax Merrie Pipers Rec . Orch (Kelowna, BC): Atlanta: Mickey Gillmor 404-872-0166 Recorder Orchestra of New York: [email protected] Bruce Sankey 250-766-1550 Hawaii Karen Wexler 631-751-5969 www.AmericanRecorder.org Rochester: Jessica Brennan Montréal: Mary McCutcheon Hawaii: Irene Sakimoto 808-734-5909 585-683-2802 514-271-6650 In accordance with the Internal Revenue Service Big Island: Rockland: Jacqueline Mirando Toronto: Sharon Geens 416-699-0517 Taxpayer Bill of Rights 2, passed by the United States Roger Baldwin 808-935-2306 845-624-2150 Vancouver: Tony Griffiths West Hawaii Recorders: Westchester: Erica Babad Congress in 1996, the American Recorder Society makes 604-222-0457 freely available through its office financial and Marilyn Bernhardt 808-882-7251 914-769-5236 incorporation documents complying with that regulation. Please contact the ARS office to update chapter listings. 2 Spring 2015 American Recorder President’s Message ______Greetings from Laura Sanborn Kuhlman, ARS President [email protected]

he recorder is a welcoming void left by their passing .What can The honor paid through instrument . It asks to be played we do to pay tribute to their memories? “Tin an ensemble, and invites ordinary When Jeanne Lynch died in August bequeaths and legacy folk to join in and make elegant har­ 2013, there was an outpouring of giving by families, friends, monies .The recorder requires skill and financial support for many of the chapters and consorts discipline, but it also implies old shoes organizations where she was active, and jeans and coffee and jamming in a the ARS being one of them .Through has become the backbone living room or church basement for the donations in her name we were able to of our scholarship sheer pleasure of pastimes with good support several summer scholarships . company . So when we recorder players In 2011, Montréal lost a warm and educational lose one of our own, we lose more than and loving teacher of their own, outreach programs. someone whom we can count on to Cynthia Campbell . She was a music carry a part .We lose an old friend ”. — teacher at the Montréal Oral School in 2014 . It was a generous gesture and Mark Dawson, Chicago Chapter ARS, for the Deaf . She mostly played we are so appreciative of her support . on the passing of our friend, Nancy Good. recorder with a couple of friends in her The ARS created the Legacy Circle The memories of friends and home . Cynthia bequeathed the ARS for opportunities such as Cynthia’s . family we carry with us help fill that $15,000 in her will, which we received ARS chapters and consorts have turned to the ARS to honor their “old friends” taken too soon: The Adirondack Baroque Consort in honor of Margaret DeMarsh; Daniel Morris, Sondra Thompson, Somerset Hills, Jennifer W . Lehmann and Andrew Acs .The honor paid through bequeaths and legacy giving by fami­ lies, friends, chapters and consorts has become the backbone of our scholar­ ship and educational outreach pro­ grams .The ARS has awarded more than $57,000 in scholarships and grants since 1994 . I hope you will check out our web site for more information about our Legacy Circle, www.americanrecorder. org/legacy_circle.php Will you consider including ARS in your estate plans? Please let us know if you need additional informa­ tion .Your gift, no matter the amount, makes a difference in the future of the recorder and American Recorder Society .

www.AmericanRecorder.org Spring 2015 3 Tidings ______Piffaro to receive ARS Distinguished Achievement Award; ______Joel Newman (1918-2014) Piffaro to be honored by ARS The ARS has announced that it will honor an entire group with its 2015 Distin­guished Achievement Award (DAA): Piffaro, The Renaissance Band, will receive the award for outstanding contribu­ tions to the study of recorder and music in general . “Sometimes a group of fellow musicians come together just to explore the possibilities of recorders, shawms and other early winds, not sure at all of what the future will hold: such was the fate or for­ mula that started Piffaro, once known as The Phila­delphia Renais­ sance Wind Band . Celebrating almost 30 years of exemplary historical musical performances and of bringing to life the virtuosity of the Renaissance wind band musician, Piffaro is synonymous with elegance, style, inspiration and a passion for excellence,” commented ARS President Laura Kuhlman .“Piffaro has raised the performance standard and educated audiences around the world with historically-crafted concerts and eloquent musicality . It is an honor for the ARS to award Piffaro the 2015 DAA . Come celebrate with founders Joan Kimball and Robert Wiemken at a reception in their honor on June 12 at the Boston Early Music Festival,” she concluded . The renowned “pied pipers” of early music (standing above, Christa Patton, co-artistic director Kimball, Greg Ingles, ARS Distinguished Achievement Award Recipients co-artistic director Wiemken; seated, Tom Zajac, Grant Herreid, Priscilla The ARS Distinguished Achievement Award was set up by the Board in 1986 Herreid ) to recog­nize and honor individuals who have made extraordi­nary contributions present an annual concert to the develop­ment of the recorder move­ment in North America . series in the Phila­delphia (PA) area; tour Friedrich von Huene 1987 Marion Verbruggen 2006 throughout the Americas and Europe; Bernard Krainis 1989 Anthony Rowland–Jones 2007 and appear as performers and instructors Shelley Gruskin 1991 Ken Wollitz 2009 at major early music festivals .They have Nobuo Toyama 1994 David Lasocki 2011 released 16 CDs since 1992, including LaNoue Davenport 1995 Bernard Thomas 2013 four on the prestigious label Deutsche Martha Bixler 1996 Piffaro 2015 Grammophon/Archiv Produktion . Piffaro has been active in the field of Edgar Hunt 1997 Members are invited to send a education since its inception in 1980, and Eugene Reichenthal 1999 Distin­guished Achievement Award Frans Brüggen 2001 nomination, along with the reasons for has been honored twice by Early Music Valerie Horst 2002 nomina­ting that individual, at any America for its work: the “Early Music Pete Rose 2005 time for consideration by the Board. Brings History Alive” award (2003), and the Laurette Gold­berg “Lifetime ARS Presidential Special Honor Award Recipients Achievement Award in Early Music Established in 2003, this award—given at the ARS President's discretion, and Outreach” (2011) . Since 2007, Piffaro approved and voted on by the ARS Board—honors a person or group that has has offered a biennial national recorder made significant contributions to their own community that have had a ripple effect competition for middle and high school throughout the larger recorder world. players, bringing four to five finalists to a www. David Goldstein 2003 Corlu Collier & Oregon Coast live competition in Philadelphia ( piffaro.org/education). Carolyn Peskin 2005 Recorder Society 2009 The winner per­ Marie–Louise Smith 2005 Louise Austin 2011 forms the following season alongside Connie Primus 2006 Peter Seibert 2012 Piffaro members in a series program . Joel Newman 2007 Gail Nickless 2014 (Former winner and current Piffaro guest Martin Bernstein Shirley Robbins 2007 performer was inter- viewed in the Winter 2014 AR.) 4 Spring 2015 American Recorder Bits & Pieces

After 22 years as head of the music library at College of the Holy Cross in Worcester, MA, as well as lecturer and head of its Rehm Library of the Center for Religion, Ethics, and Culture, for­ mer ARS President Alan Karass has started as the new Director of Libraries at the New England Conservatory in Boston Early Music Festival (BEMF) Preview Boston, MA . He is nearing completion Entitled “Invention & Discovery,” BEMF’s 2015 biennial festival is set for of his Ph D. . in ethnomusicology . June 7-14 in Boston, MA . Monteverdi Trilogy is the 2015 operatic centerpiece, Former ARS Board member and includes productions of the three surviving operas of Claudio Monteverdi Mark Daven­port will spend May in (1567-1643)—Ulesse, Poppea and Orfeo . Festival concerts include: (June 8) his second sabbatical from his duties Hespèrion XXI with Tembembe Ensamble Continuo, Jordi Savall, director; as Associate Professor of Music and (both on June 11) Monteverdi’s Vespers of 1610, BEMF Vocal & Chamber Director of the Music Program in the Ensem­bles with Dark Horse Consort, Stephen Stubbs, conductor; and Nor­ Department of Fine and Perform­ing bert Rodenkirchen, Medieval flutes, Wolodymyr Smishkewych, narrator; Arts at Regis University, Denver, CO . (June 12) Musica Pacifica; (June 14) Michael Form and Friends . For tickets to Boulder Early Music Shop of the operas or 16 other events, see www.bemf.org . Some of the featured perform­ Eugene, OR, took over much of the ers will offer master classes, including a recorder session by Form on June 13 . inventory and the web site (https:// Among other participating organizations, ARS will be represented in the magnamusic.com) of Magnamusic concurrent exhibition of instruments, accessories, recordings, music and publi­ Distributors, which went out of cations June 10-13 at Courtyard Boston Downtown . Also planned are ARS business in December after 75 years special free events on June 12 .Visit www.americanrecorder.org for details . of serving the recorder music world . Some Magnamusic inventory is also Sardelli, the conductor and musicolo­ tour, she married him in 1985 and available through Honeysuckle gist who unearthed this composition . made Seattle her home . Music, www.honeysucklemusic.com . During her international career, With its fourth nomination, the Passing Notes she played in groups such as King’s Boston Early Music Festival (BEMF) Margaretha (Margriet) Tindemans Noyse, Newberry Consort, Folger has won a Grammy in the Best Opera (1951-2014) died at home surrounded Consort and Seattle Baroque Orches­ Recording category, for the CD of its by loved ones on December 31, after tra, in which she played viola and viola 2013 BEMF staging of La Descente deciding to seek no further treatment da gamba from its start in 1995 . d’Orphée aux Enfers and La Couronne de for cancer that had been diagnosed sev­ A Grammy Nominee in 2005, Fleurs by Marc-Antoine Charpentier . eral years ago .The well-known Seattle Tindemans was named “Best asset to Congratu­lations to musical directors (WA) viol player, educator, teacher, and Seattle’s Classical Music scene” in Paul O’Dette and Stephen Stubbs; director of the Port Townsend Early Seattle Weekly’s 2004 “Best of Seattle” Aaron Sheehan, tenor, and Renate Music Work­shop (2003-07) had issue . At the Christmas concert of the Wolter-Seevers, producer, and others . ceased her musical activities as the Medieval Women’s Choir (a unique See photos and video at www.bemf.org . effects of the disease worsened . group she founded in 1990, so popular The earliest-known work by She was a brilliant young player that a second ensemble was formed), Italian Baroque composer Antonio of the vielle (Medieval fiddle) in her Mayor Ed Murray declared December Vivaldi was premiered at a February native Holland when, during the 1970s, 20, 2014, “Margriet Tindemans Day ”. concert at the Uffizi Museum in she was asked to join the Medieval Her surviving spouse, Judith Florence, Italy .The new Vivaldi dis­ ensemble Sequentia .That group toured Suther, wrote, “In the spring we’ll have covery, an instrumental work dated to Europe, Asia and the Americas; when a memorial for her, with good music 1700-03, was played by Modo Antiquo, Tindemans met Dick Templeton (now and the happy recollections that are under the baton of Federico Maria deceased) during a North American too painful in our present sorrow .“ www.AmericanRecorder.org Spring 2015 5 Joel Newman (1918-2014) the New York Pro Musica Antiqua Newman was considered and joined the music department at Columbia University . A beloved a pioneer in recorder and teacher, he taught at Columbia for more than 30 years and after retire­ viol music publication ment continued teaching as and mail order sales. Professor Emeritus . With the founder-director of and even spent some time with a small the Pro Musica, Noah Greenberg, acting company in New York, appear­ New­man published a number of ing in productions of Twelfth Night and works including An Anthology Of A Midsummer Night’s Dream . English Medieval And Renaissance A chance musical encounter led to Vocal Music, for which he wrote the Newman’s involvement in the forma­ introduction . He studied recorder tion of the ARS as we know it today— with Bernard Krainis and played a federation of local chapters with a in the first Amer­ican Recorder central office and magazine . In the Society ensemble under music early 1950s, Newman regularly got Joel Newman, c.1950s director Erich Katz . About the together to play four-hands piano with a composer friend . One day he arrived Joel group of some 50 players that first n December 17, 2014, to find his friend reading through a Newman met at a Harlem library ,. Newman died in his home in later said, “It was a horrible sound”— Handel sonata with a young recorder ProvinceO ­town, MA, attended by friends but he also reported that it was much player . and family members . He was 96 . improved a year or so after, when the He was not a stranger to the New­man was born in Brooklyn, group had been divided into beginners recorder; his younger brother, the late NY, on September 19, 1918 . He and more advanced players .The ARS Morris Newman, had taken up the attended public schools, and received ensemble eventually gave annual con­ recorder when an uncle in Germany his B A. . from City College and both certs at Carnegie Recital Hall . had sent one to their family during his M A. . and Ph D. . from Columbia Newman was also accomplished World War II . However, it was the University . on the piano, organ and harpsichord, first time Newman had heard such Newman played an important role in the early music revival in New York City . His 1962 doctoral thesis, The Madrigals of Salamone de’ Rossi, remains the definitive work on the early Italian composer . In the 1950s, Newman became the musicologist for A 1966 photo of the Morning­ side Recorder Consort, sent by Joel Newman to accompany a May 2004 set of memories of the late David Goldstein: (l to r) recorderists Newman, Elloyd Hanson, Phoebe Larkey, Steven Schlesinger; Bonnie MacDowell, gamba; James Tyler, lute; and Gold­ stein, playing what was then a rare instrument, a contra bass.

6 Spring 2015 American Recorder incredible music from the recorder . order sales with his sheet music busi­ New­man will be missed in his adopted He immediately asked his composer ness, Provincetown Bookshop Editions . community of Province­town, and friend’s duo player, who happened to Newman collected rare book remembered for his wicked and pithy be Krainis, for lessons . Newman’s long editions, taught himself Norwegian, sense of humor, his erudition and his association with the ARS came out of traveled extensively, did the New York charm . that serendipitous meeting . Times crossword religiously, played the Newman is survived by his twin An influential force at a crucial piano for hours every day, and hosted sisters, Phoebe Sheres and Dorothy time in the ARS’s early years, he served memorable recorder ensemble gather­ Swayze—and a host of fond nieces and both on the ARS Board and later as ings until the final months of his life . nephews and great nieces and nephews, editor of the ARS Editions . He and Any visitor to the bookshop on bus­ who will always think of him as The Krainis traveled together in 1955 to tling Commercial Street, or to Joel and Uncle (all superlatives apply) . Boston, MA, to discuss formation of an Elloyd’s home behind the bookshop, A memorial service (spring date ARS chapter there . Back in New York would leave richer in knowledge— not yet set at press time) will be held City, the ARS was soon incorporated especially on questions of music, ballet at St . Mary of the Harbor in (in 1958), and a decision made to add a and opera—and usually with at least Provincetown, MA . magazine to attract members (in 1960) . one new book tucked under an arm . Adapted from a memorial writing by Newman contributed articles and Elizabeth P. Swayze, Boston, MA reviews on a regular basis, and wrote his “Flauto Piccolo’s Corner” in AR for years . When Katz later moved to Santa Barbara, CA, he left the ARS Editions in Newman’s hands . Adding to about a dozen works by Katz that were ini­ tially published by Associated Music Publishers, Newman guided the publi­ cation of about 40 more works by Galaxy, now E C. . Schirmer . His schol­ arly background was invaluable in the publication of these early editions for recorder . ARS Editions remain largely out-of-print . Newman received the Distin­ Newman guished Achievement Award from (l, above) with the American Recorder Society in Elloyd Hanson 2007 for his work as a musicologist, at the Province- music editor and musician . (See the town Bookshop January and March 2007 issues of AR ). (in a fall 2005 After going to Provincetown, MA, photo by for weekends and summers, and also Rebecca starting the Provincetown Collegium Arkenberg). there with his brother Morris, New­ At left, man retired there . In the early 1960s Alan Karass he became co-owner of the Province­ (l, then ARS town Bookshop with the late Elloyd President) Hanson, who was his partner for 46 presents years (and who became the first paid the 2007 editor of American Recorder in 1963) . Distinguished A lifelong reader and scholar, Newman Achievement was considered a pioneer in recorder Award to and viol music publication and mail Newman.

www.AmericanRecorder.org Spring 2015 7 8 Spring 2015 American Recorder Education ______Tuning: Learning the Science ______can help dispel the Myths

Text and visuals by Do not worry if you do not under­ Nowadays, most instruments are Gustavo de Francisco, São Paulo, Brazil stand a particular concept .The impor­ pitched so that the note A is tuned at tant thing is the sound that is produced 440Hz or 440 cycles per second, also In the previous installment of my when you play your instrument . I will called 440Hz pitch .This is not a very series on tuning, I mentioned that it is provide ways old convention, because it was only time to look at some of the theory for you to apply defined after World War II, about 65 and science behind how we play in concepts in years ago . A few orchestras tune their tune . In this issue, we will discuss your recorder instruments at 442Hz, or even higher the harmonic series and some his­ study . Please at 445Hz, which produces a slightly torical aspects of tuning . contact me for help brighter sound . Usually in Baroque To fully under­ if you have questions . music calling for “low pitch,” we use stand “how” to A=415Hz tuning, sounding exactly tune, it is always Why A=440 as one half-step below the modern good to dis­ a reference? tuning convention . cuss the prin­ Sound is the These are not the only possible ciples behind result of vibra­ standards for tuning . During the his­ the practical tions that travel tory of Western music, there is evi­ subject of through the air dence of pitch ranging from 380Hz tuning . I to our ears . to 502Hz, a variation that is greater have seen These vibra­ than an interval of a perfect fourth . many musi­ tions through a However, for two instruments to cians who have medium produce play together, it is necessary to great difficulty in a sound wave . define a tuning convention . Usually grasping the “why” Sound travels in the recorders use a pitch of 440 or 415Hz . of tuning—and, con­ air by moving its mole­ sequently, “how” to play cules, so it is considered a The harmonic series in tune .This should be of mechanical sound wave . Each mechanical sound wave also concern to all musicians—but, In a stringed instrument, produces what we call harmonics or with many recorder players, what the string vibrates at a speed that is in overtones . Overtones are simultaneous happens is that they assume that using proportion to the string tension . More sounds, with a frequency that is a mul­ a correct fingering will automatically tension produces faster vibrations tiple of the fundamental frequency . produce a note played in tune .These and higher pitch .This is in inverse A specific pattern of harmonics players don’t consider pitch to be proportion to the string’s length and defines the timbre of an instrument . important, which is very unfortunate . diameter: the longer in length or larger As an example, imagine a sound For this reason, I’ve decided to it is in diameter, the slower and lower with a frequency of 100Hz . Its over­ explain a number of issues relating to it will be in wave and pitch . tones have frequencies of 200, 300, 400, only one subject: tuning, which does In a wind instrument, it is the air 500Hz and so on . In a stringed instru­ not have to be difficult or complicated . that vibrates in inverse proportion to ment, that is very present and visible, Besides being a musician, I am also an the length of the instrument (larger is because we can split the string in 2, 3, engineer, so I’ve also decided to employ slower and lower) and in proportion 4 or 5 equal parts, which allows us to musical, visual and mathematical argu­ to the velocity of the air inside the hear the sound of each overtone . ments .Thus, people of various interests instrument (higher velocity and higher Because each overtone has a fre­ should be able to understand “how” pitch) .This speed—or, more accurately, quency, we can say that each overtone and “why” we tune each note as we do . the number of cycles per second— represents a note, and this has every­ we call frequency . thing to do with our main subject of www.AmericanRecorder.org Spring 2015 9 tuning .When we hear two notes that Exercise 2: Find a friend who plays a finger on one of the divisions, it will are in tune, we say that their harmonics a stringed instrument (violin, ’cello, viol, sound the next note in the harmonic or overtones coincide . Con­sonant guitar, ukulele, etc ),. and ask that per­ series (the 12th above the fundamental, intervals are those with many coin- son to demonstrate the harmonics of or octave plus a fifth) .With a violin or cident overtones, while dissonant the instrument . If he does not know, ’cello, it is easy to hear many harmonics intervals have few or no coincident ask him to lightly place a finger in the that are produced by dividing the string overtones (which is the acoustical middle of a string, without pressure, in smaller and smaller equal parts . property that produces the “beats” and play .This will sound an octave Many guitar players use harmonics we have tried to eliminate in tuning, above the note that is produced by to tune the strings of their instruments . as discussed in my previous articles) . that open string . If you divide the This is an excellent auditory exercise, Of all the notes of the harmonic string into three equal parts, and place and is the next topic I will discuss . series (shown on the staff above), recorder players use the first eight . Each interval is in relation to the fundamental or its successive octaves: 1 – fundamental 2 – octave 3 – perfect fifth 4 – second octave 5 – major third 6 – perfect fifth 7 – minor seventh, low-tuned 8 – third octave These intervals form the basis of all tonal harmony, and are perfectly recognizable audibly while playing an instrument .The first eight over­ tones, omitting the out-of-tune over­ tone 7, when sounded simultaneously produce a major chord . In fact, the harmonic series is often called the “chord of nature ”. Exercise 1: Close all the holes of the recorder and play that note (C on soprano or F on alto) . By blowing a little harder, you can hear the second overtone (octave) . By blowing a little more, you hear the third overtone (soprano G, alto D) . Overblow even a little more to hear the fourth overtone . You can reach overtones 7 or 8 with a nice instrument and good technique .

10 Spring 2015 American Recorder How we tune the notes of a scale: a brief history A musical scale has seven notes, but if we consider sharps and flats (accidentals), we have 12 notes in each octave .We know that the note A (the one above middle C on a piano —in other words, the lowest A on an alto) has a frequency of 440Hz . Its overtones would be: A=880Hz, E=1320Hz, A=1760Hz, C#=2200Hz, etc ),. following the harmonic series, which applies with any note as a fundamental . We can also apply reverse thinking, and find the frequencies of notes lower than A, by dividing 440 by 2, by 3, by 4 and so on, resulting in A=220Hz, D=146Hz , A=110Hz, F=88Hz, A=66Hz . For those who did not follow the math involved, I first multiplied the number 440 by 2 (880), then 3 (1320), etc . , to produce the frequencies of higher notes .Then I divided 440 by 2, by 3, etc ,. moving through the intervals associated with those numbers in the harmonic series . If we think about a The circle of fifths is a visual stringed instrument, we multiply the frequency as we divide the string into equal parts (the shorter the string, the higher representation of the relationships the note) .We divide the frequency as we stretch the string among the 12 tones in an octave. (the longer the string, the lower the note and its frequency) . Musicians, philosophers, physicists and mathematicians However, the mathematical equivalents (the number of fifths have understood these principles for centuries .The Greek at a ratio of 3:2 to return to C vs . the math used to move philosopher Pythagoras (c 570–c. 495. BC) discovered the eight octaves at 2:1 frequency ratio) do not match: basis of acoustics, math and proportions . Legend has it that, while listening to a blacksmith hammering an anvil, 3•3•3•3•3•3•3•3•3•3•3•3 =129 746. he noticed the musical intervals produced . He suggested that 2 2 2 2 2 2 2 2 2 2 2 2 consonant sounds should be represented by simple numerical 2•2•2•2•2•2•2•2 =128 ratios derived from the tetractys (a triangle with 1, 2, 3 and 4 1 1 1 1 1 1 1 1 points per row, considered to be a mystical sequence of num­ The figure above shows that if we start from C, always bers representing the natural harmony of the universe) .To tuning each pair in pure fifths—i.e., C, G, D, A, E, B, F#, define musical intervals mathematically, as I did with the C#, G#, D#, A#, E# (or the last four would be Ab, Eb, Bb, F multi­plication above, 2:1 corresponds to the octave, 3:1 to in the more familiar enharmonic labels shown), the B# the octave plus a fifth, 4:1 produces two octaves, 3:2 a perfect reached last will not have exactly the same pitch as C . fifth, 4:3 a perfect fourth, and 5:4 the major third . Instead, it will sound much higher, a difference called In music theory, the circle of fifths is a visual represen­ the “Pythagorean Comma ”. tation of the relationships among the 12 tones in an octave, We could take another approach, tuning pure thirds an important basis for tuning in tonal harmony . (It also and using the mathematical ratio of the fifth harmonic shows the order in which sharps and flats are added to key in the “chord of nature ”. With C again as our starting signatures . See http://en.wikipedia.org/wiki/Circle_of_fifths ). note, we would have in the space of only one octave: The perfect fifth is the most consonant non-octave interval, and it is also important when used aurally in com­ 5 • 5 • 5= 125 = 1 953:1. ≠ 2:1 posing harmonious music . Following the acoustic principle 4 4 4 64 of the interval ratios above, we might imagine that we need only follow the circle of fifths to find the 12 notes of the C E G# B# scale, right? However, our ears will prove that this is not true, and there is also an intrinsic problem with the math involved C C in mapping the musical scale in this way . This shows C, E, G#, B# (enharmonic for C), with a Traveling around the circle of fifths (here starting major third between each two successive notes in the octave . arbitrarily on C, which has no sharps or flats in its key sig- We can see that in this case the B# would be lower than nature), we would cover a musical distance of eight octaves . what we expected!

www.AmericanRecorder.org Spring 2015 11 These issues began to be discussed by theorists of the 14th century, when “temperaments” emerged.

These issues began to be discussed by theorists of the 14th century, when temperaments emerged .We will wait until the next issue to examine those theories . Until then, if you are inter­ ested in reading more in depth about tuning, I recommend the following books: J . Murray Barbour, Tuning and temperament - a historical survey . ISBN 0486434060 . Ross W . Duffin, How equal tempera- ment ruined harmony (and why you should care) . ISBN 9780393334203 . Bruce Haynes, A History of Performing Pitch: The Story of “A.” ISBN 0810841851 .

Gustavo de Francisco founded the Quinta Essentia Recorder Quartet in 2006. Based in Brazil, the group has per- formed tours in Europe (2009, 2010, 2014), China (2010), Namibia (2012) and Bolivia (2014); released two albums, La Marca (2008) and Falando Brasileiro (2013); and organized three of the seven editions of the ENFLAMA National Recorder Meeting. He studied with Ricardo Kanji, Paul Leenhouts, Pierre Hamon, Pierre Boragno, Gwenael Bihan, Christoph Ehrsam and Rachel Brown; in 2012 he began his teacher training in the Suzuki Recorder method- ology, attending training courses for teach- ers in the U.S., Brazil and Peru. He also studies the recorder’s acoustic properties. His recent activities have included pre- senting a lecture demonstration on tuning to the International Suzuki Festival of Peru in January 2013. An engineer and a photographer, as a member and guest he contributes to the work of several chamber music groups: Raro Tempero, Mosaico Harmônico and Audi Coelum in São Paulo, and Oficina Barroca in Campinas. 12 Spring 2015 American Recorder A Higher Place of Awareness, A Spirit that Soars ... Columbia Gorge Rocky XI for the annual Marin Head­lands Early Music Retreat Recorder Workshop Recorder Workshop . Enjoy a weekend Columbia Gorge, Portland, OR YMCA of the Rockies, Estes Park, CO of music and camaraderie in a beautiful March 13-16 (sold out) May 15-17 coastal setting north of San Francisco . Director: Vicki Boeckman Director: Jon Casbon The workshop begins on Friday Faculty: Mark Davenport, Faculty: Anne Timberlake, evening and runs through Sunday Vicki Boeckman, Gayle Neuman, Mark Davenport, Jennifer Carpenter lunch . Sessions are designed for intermediate to advanced level players . Philip Neuman, Laura Kuhlman Wake up to elk grazing outside your Contact: CGEMR waiting list only, window at the 11th biennial Rocky The workshop is held at the YMCA Zoë Tokar, 1916 SE 29th Ave, Recorder Workshop! The Denver ARS Conference Center located in the Portland, OR 97214; 971-235-1060; chapter invites you to share 14 sessions Golden Gate National Recreation Area . [email protected], covering a range of topics—interesting, In addition to the GGNRA, the San http://portlandrecordersociety.org educational and fun . Francisco Bay Area including Marin County offers many delights to visitors Winds and Waves The workshop starts with casual drop-in of the region . Accommodations include Recorder Workshop playing sessions while participants regis­ dormitory-style rooms, dining facility ter on Friday afternoon .The highlight of and space for impromptu playing all on Sitka Center, Otis, OR Friday evening is the opening Big Bash one level . Cost for the full weekend is April 25-27 play-along . Following a full Saturday of $280; Partial Weekend (Friday/Saturday Faculty: Frances Blaker, Letitia Berlin, classes (including another evening Big or Saturday/Sunday), $190; Full Cléa Galhano, Rotem Gilbert Bash), plus a half-day on Sunday morn­ Weekend, no lodging, $210; and Come work on a wide variety of recorder ing, participants may choose to take Saturday only, $120 . Costs will go music from the past and present under advantage of the beautiful surroundings . up $10 for all categories after May 1 . the guidance of an internationally All workshop music is provided; please Contact: Patricia Wheeler, renowned faculty .Winds and Waves, bring your recorders, viols, buzzies, etc . 529 Woodmont Ave ,. Berkeley, CA founded by the Oregon Coast Recorder Rooms are available after the evening sessions for informal playing . 94708; 510-525-3783; Society, offers graded technique and [email protected], repertoire classes, plus general “grand The Estes Park Center at YMCA of the www.eastbayrecorders.org consort” sessions . Age 16 and older . Rockies is a year-round conference center Winds and Waves faculty perform, and family resort located about 85 miles Amherst Early Music Spring record, teach and conduct workshops from Denver at an elevation of 8010 feet . Weekend Workshop (ARS) www.ymcarockies.org throughout the U S. . and abroad . Blaker Please visit for more information . Bring sturdy shoes Wisdom House, 229 East Litchfield and Berlin are based in the San Francisco Road, Litchfield, CT 06759 Bay area and form the duo Tibia . to take advantage of the opportunity to enjoy scenic walks during free time! May 22-25 Galhano, originally from Brazil, lives Director: Valerie Horst and teaches in St . Paul, MN, where she Contact: Jon Casbon, is on the faculty of Macalester College [email protected], Master class with Han Tol . Recorder and other Twin Cities institutions . www.denverrecordersociety.org and viol consorts, Renaissance recorders, Guest instructor Gilbert is a native of mixed ensembles, early notation, English Haifa, Israel; she has been featured as Marin Headlands country dancing, all-group playing and a soloist for the Pitts­burgh Opera, the Recorder Workshop singing . Bucolic setting with housing Los Angeles Opera, Musica Angelica and classes under one roof (with eleva­ Point Bonita YMCA, tor) .Tuition $260; rooms begin at $310 and the Los Angeles Philharmonic . near San Francisco, CA Workshop tuition $265, includes a per person (double occupancy), all meals May 15-17 included . faculty concert on Friday evening, Faculty: Louise Carslake, Frances April 25 . Registration opened January 12 . Feldon,Tish Berlin, Tom Bickley, Contact: Marilyn Boenau or Sally Contact: 541-994-5485; Adam Gilbert, Rotem Gilbert, Merriman, PO Box 229, Arlington, MA [email protected], Peter Maund, David Morris 02476; 781-488-3337 (day); 408-547- www.sitkacenter.org 1464 (fax); [email protected], Join East Bay Recorder Society members www.amherstearlymusic.org www.AmericanRecorder.org Spring 2015 13 Cambridge Recorder Memphis Suzuki Institute Whitewater Early Making Course Music Festival (ARS) Community Music School, The Champion Workshop at Bury Farm, University of Memphis, TN University of Wisconsin, 800 W . Main Bury Road, Stapleford, Cambridge June 4-8, Week 1, St ,. Whitewater, WI 53190 CB22 SBP ENGLAND Recorder Teacher Training Unit 2 June 5-7 May 25-29 June 5-12, Week 2, Directors: Nancy Chabala, Make your own professional wooden Recorder Teacher Training Unit 3 Laura Kuhlman, Pam Wiese recorder with expert recorder maker Tim Trainer: Mary Halverson Waldo Faculty: Mark Davenport, Charles Cranmore .You will be involved in mak­ The Memphis Suzuki Institute features Fischer, Shelley Gruskin, Lisette ing the tools required for the bore, turn­ recorder pedagogy, technique and philos­ Kielson, Laura Kuhlman, Patrick ing the profile from drawings, drilling the ophy of the Suzuki Method: how to O’Malley, Karen Snowberg, Dale tone holes, making the headjoint and teach students of all ages (and as young Taylor, Todd Wetherwax, Pam Wiese cutting the windway, block fitting, and as age three) with a solid foundation in The Whitewater Early Music Festival tuning and voicing the recorder .With posture, position, beautiful tone quality, is held on campus at the University of only two students on the course, you are basic articulations, breathing, phrasing Wisconsin–Whitewater, about 60 miles assured dedicated attention as required . and musicianship . southwest of Milwaukee . Students have the choice of making a Teachers have the opportunity to Classes include focus and specialty area number of Baroque models, e.g., alto take SAA (Suzuki Association of the instruction for all levels of recorder play­ recorder after T . Stanesby Jr ,. A440 or Americas) approved teacher training ing, consort viola da gamba, wind band, A415, voice flute, A440 or A415, or courses, observe students studying with and vocal classes with instruments . A tenor in C, A440 . expert guest clinicians, and gain insights variety of special interest classes will be Suitable for adults and students over into their own teaching . held on Friday evening, and a rousing 16 years old: musicians, artisans and Registration is limited and is offered Saturday evening participant gathering craftspeople . Arrange your own on a “first-come, first-served” basis; led by Louise Austin .The various classes accommodation for the duration early registration is encouraged . include music from Medieval to modern . of the course, referrals provided . Contact: Samuel Sidhom, Institute Several music/instrument vendors on Personal accident insurance is Director, Community Music School, site . All ages are welcome, as well as non- obligatory for overseas participants . University of Memphis; 901-678-4244; participants . Brochures, class schedules Contact: Tim Cranmore, [email protected], and repertoire for classes, available at [email protected], http://memphis.edu/cms/ Facebook: Whitewater Early Music http://cambridgewoodwindmakers.org/ suzuki_institute/index.php Festival, www.whitewaterearlymusic.org, info/courses/recorder-making+99.html www.ChicagoARS.org, or contact Pam Wiese for pdf. files . Cost: $220 (double), $255 (single); $25 discount for new beginning recorder players . Contact: Nancy Chabala (housing/ registration), 8609 45th St ,. Lyons, IL 60534-1616; 708-442-6053 (day); [email protected]; Pam Wiese (facilities/mailing/ scholarships), [email protected]; Laura Kuhlman (faculty), [email protected]

14 Spring 2015 American Recorder Summer Texas Toot (ARS) scripts, and the world’s top conservatories sation and ensemble arrangement . Concordia University, Austin, TX and schools of music . New location: The workshop culminates with a perfor­ June 7-13 Courty­ard Marriott Boston Downtown mance on period instruments, which Director: Daniel Johnson; Hotel, 275 Tremont Street . include recorders, other early winds, viols, Susan Richter, administrator Fringe Concerts are presented by lutes, harpsichord and percussion . Faculty/performers: Frances Blaker, emerging and established artists alike Vocalists are also welcome . Participants Alison Melville, recorders; Mary from across North America, U K. ,. must supply their own instrument . Springfels, viols; Tom Zajac, ensemble; Belgium and Germany . Other events Tuition: $450; room/board costs vary . Therese Honey, harp; Daniel Johnson, include pre-opera talks, performance Early registration (deadline April 1) is voice/ensemble; others master classes, and dance workshops . recommended, as space is limited . The 2015 Summer Texas Toot offers a Contact: Kathleen Fay, Boston Early Contact: Leslie Donaldson, Director one-week program of classes at all levels, Music Festival, 43 Thorndike Street, of ICCA, PO Box 199, Suite D, Inter­ focusing on Renaissance and Baroque Suite 302, Cambridge MA 02141-1764; lochen, MI 49643; 231-276-7387; [email protected] music, but with offerings for Medieval 617-661-1812, , [email protected], www.bemf.org/pages/fest/festival.htm and 21st century enthusiasts as well . As http://college.interlochen.org/ earlymusic#sthash.NmVqIZ8p.dpuf always, we offer expert and totally awe­ Interlochen Early Music , http://facebook.com/interlochencollege some instruction in: recorder, viola da Workshop gamba, ensemble, harp and voice— tending to young professionals, Interlochen Center for the Arts, San Francisco Early Music seasoned amateurs, and eager Interlochen, MI Society Children’s Music beginners with equal care . June 9-13 Discovery Workshop and Youth Collegium (ARS) Join us for a week of learning, fun Director: Mark Cudek and musicmaking on the beautiful Christmas in June School of the Madeleine, Berkeley, CA Concordia University campus in Austin! The 2015 Early Music Workshop will June 14–19 (day camp) Info on classes, faculty, housing, and draw on the immense repertory of music Directors: Yuko Tanaka, online registration will be on the web for the Christmas season from the mid­ Shulamit Kleinerman site in late March . dle ages and Renaissance . Italian laude, Faculty: Tish Berlin, recorder; Jonathon $465 tuition; room and board extra . Spanish villancicos, and German chorales Hampton, voice; Jamia Hansen-Murray, $10 off tuition; early registration and make up the “tip of the iceberg” of this dance; Shulamit Kleinerman, dance/ bring-a-friend discounts also available body of music .We’ll look into the origi­ theater; Carla Moore, violin/viola; Farley Pearce, ’cello/viola da gamba; Contact: Daniel Johnson, PO Box 4328, nal versions of tunes that have been re- Yuko Tanaka, harpsichord Austin, TX 78765; 512-371-0099; texted and are now popular Christmas [email protected], www.toot.org carols and also include a bit of Chanuk­ Galileo’s Dreams: Music, Dance, Drama kah with some Sephardic romances . A and Art from the Italian Renaissance .The Boston Early Music Festival class will cover putting together holiday Music Discovery Workshop is a summer season programs . Participants will focus Boston, MA day camp for kids ages 7–13 . Campers on articulation, ornamentation, improvi­ June 7-14 explore early music and history through The 18th biennial Boston Early Music Festival will be highlighted by Claudio Monteverdi’s trilogy of operas: Orfeo, Il Ritorno d’Ulisse in Patria, and L’Incorona­zione di Poppea . BEMF’s artistic leadership includes Artistic Directors Paul O’Dette and Stephen Stubbs, Opera Director Gilbert Blin and Orchestra Director Robert Mealy . The BEMF Exhibition, June 10-13, features makers of authentic period instruments, publishers of sheet music, dealers in rare books, prints and manu­

www.AmericanRecorder.org Spring 2015 15 instrument classes, ensembles, dance, and players, wind players and singers are June 27, Free Family Concert with theater projects for each age group, plus encouraged to attend the afternoon The Baltimore Consort daily games and quiet time . sessions for Baroque ensemble coaching . June 28, Rose Ensemble, Concerti Grossi in the Italian Style . New Pre-formed groups are also welcome . “Music of Three Faiths” this year, the Youth Collegium is a sum­ A session on historical tuning, tempera­ July 10, Trio Setticento and Guests mer institute for middle- and high- ments, and maintenance will round out July 12, Rachel Barton Pine & school-aged instrumentalists and vocal­ this week of Baroque music-making . The Indianapolis Baroque Orchestra, ists . Explore the virtuosity of the concerti Faculty recital June 15 . “Viva Vivaldi III” fms@iquest. grossi by Corelli and see why they are Contact: Lynne Mackey, lmackey8@ Contact: Gail McDermatt, still so popular after 300 years! Master gmail.com, www.emu.edu/bach/baroque net, www.emindy.org classes, small ensembles, electives, and music theory classes round out the week . Lake Sylvia Suzuki Flute and San Francisco Early Music Society Contact: Yuko Tanaka, SFEMS, PO Box Recorder Institute discovery- Baroque Workshop (ARS) 10151, Berkeley, CA 94709; Camp Chi Rho, 1777 Glenview Ave, [email protected] www.sfems.org , St . Paul MN 55112 Dominican University of California, San Rafael, CA Virginia Baroque June 14-21 Trainer: Mary Halverson Waldo June 21-27 Performance Academy Director: Linda Pearse Lake Sylvia Suzuki Flute and Recorder Faculty: Sand Dalton, Baroque oboe; First Presbyterian Church, Institute is 48 miles west of Minneapolis Cheryl Ann Fulton, Mara Galassi, harp; 17 Court Sq ,. Harrisonburg, VA 22802 at Camp Chi Rho .The emphasis is on Cléa Galhano, recorder; Kati Kyme, June 14-20 family fun and music making in the great Baroque violin; Elisabeth Le Guin, Director: Lynne Mackey outdoors . Situated on a private peninsula Baroque ’cello; Rita Lilly, voice; Anna Faculty: Anne Timberlake, recorder; on beautiful Lake Sylvia, this institute Marsh, Baroque bassoon; Sandra Miller, Arthur Haas, harpsichord: Martha offers plenty of summer activities . Sere- Baroque flute; Linda Pearse, Baroque McGaughey, viola da gamba; Linda nade the loons from our pontoon boat! Quan, violin; Mark Rimple, counter- trombone; Mary Springfels, viola da Contact: Nancy L . Maloney, 651-636- tenor/archlute; Carol Marsh, Baroque gamba; Peter Sykes, harpsichord 0046; [email protected], www. dance lakesylviaflutes.org Fertile Ground—Lutheran Music from This intimate workshop is designed to Michael Praetorius to J. S. Bach. Lutheran give participants hands-on experience in Indianapolis Early music composition during the Baroque Baroque technique and interpretation Music Festival period embraced the Italian influences through master classes and coaching introduced by composers such as Claudio Indiana History Center, Indianapolis, IN sessions . Players of all levels are welcome Monteverdi and Alessandro Grandi . It June 19-July 12 in this five-day Baroque immersion blended the Italianate style with German course . Solo practice time will be The Indianapolis Early Music Festival texts and the structure inherent available for all participants . is the oldest continually running early in the language and saw the creation of a music concert series in the U S. . Presented plethora of stunning works .The sacred Besides class in harpsichord, violin, viola since 1967, our mission is to enrich, edu­ concertos of Johann Hermann Schein da gamba, recorder and voice, all string cate and entertain audiences with the and Heinrich Schütz are choice examples music of Medieval, Renaissance, Baroque of music that provides fertile ground for and early Classical eras, and feature excit­ later Lutheran composers, for example, ing performers of national and interna­ G . P .Telemann and J . S . Bach .This year’s tional stature using instruments of the workshop traces a path through these period and historically informed styles musical pastures, exploring well-known and techniques . See web site for details . Rise with the Tide: In a sense Pre-Festival Concert: May 4, Rook everything that is exists to climb. (music of the 16th-17th centuries) All evolution is a climbing towards a June 19, Matthias Maute, higher form.... In the mountains there “The Nightingale and the Angel” is the promise of … something unex- June 21, Ensemble Caprice plainable. A higher place of awareness, June 26, Nell Snaidas and Aeris a spirit that soars....” ~ Rob Parker

16 Spring 2015 American Recorder and lesser-known gems of the Baroque offer memorable listening and music- legacy of a modest and under-recognized period by composers such as Michael making experiences, lectures, and infor­ powerhouse of music history—in a beau­ Praetorius, Schein, Samuel Scheidt, mal open discussions stimulate the intel­ tiful White Mountain camp setting . Schütz, Telemann and Bach . Daily mas­ lect, and the ever-popular Baroque dance Week-long workshop in early music (late ter classes, ensemble coachings, elective classes provide excellent physical exercise Medieval through Baroque) . Faculty and seminars, and informal performances— as well as a kinetic appreciation for the student concerts, English country danc­ all in a friendly, supportive atmosphere— rhythms that underlie so much music ing, special lectures, morning and after­ provide a multifaceted, enjoyable experi­ of the Baroque era . noon workshops in viols, recorders, voice, ence for all . Contact: Anna Hoffman, Conservatory mixed ensembles, Sephardic music and Contact: Linda Pearse, SFEMS, PO Box of Music, 77 West College St ,. Oberlin, Baroque chamber music, and classes in 10151, Berkeley, CA 94709; baroque- OH 44074; 440-775-8044; Feldenkrais body work . [email protected] www.sfems.org [email protected] , 440-775-8942 (fax); , Camp facilities include hiking, swim­ www.oberlin.edu/con/summer/bpi Oberlin Baroque ming, boating; camp gardens supply Performance Institute World Fellowship kitchen with vegetables . Early Music Week Very affordable rates . $250 tuition if reg­ Oberlin College, Oberlin, OH istration occurs before June 1; $275 after June 21-July 5 Chocorua, NH that date; room & board $454 (double Faculty: Oberlin Baroque Ensemble June 25-July 2 occupancy); room & board $491 (single (Michael Lynn, Marilyn McDonald, Directors: Jane Hershey, Larry Wallach occupancy) . Catharina Meints, Webb Wiggins) Faculty: Jane Hershey, Roy Sansom, Contact: Larry Wallach, 69 Welcome Jay Rosenberg, Anne Legêne, Larry “Circa 1690” Featuring Purcell’s The Fairy St ,. Great Barrington, MA 01230; Wallach, Josh Sholem–Schreiber, Queen . Prelude to a new century— 413-528-7212 (day); 413-528-9065 Pamela Dellal music of Purcell, Corelli, Biber, Vitali, (evening); 413-528-7365 (fax); Buxtehude, F . Couperin, D’Anglebert, Enchanté: the French Chanson and its [email protected], Marais, Schenk, Hacquart, Finger, Legacy. Join us at World Fellowship in www.worldfellowship.org Hotteterre, de la Barre, A . Scarlatti, 2015 as we uncover the surprisingly vast Campra, Clerambault, Blow . This year marks the 44th Baroque Performance Institute at Oberlin, America’s premiere summer workshop for Baroque instruments and voice . Headed by the members of the Oberlin Baroque Ensemble, the internationally renowned faculty will again lead daily master classes and ensemble coaching . Faculty and student concerts promise to Workshops carrying ARS designation in their descriptions have joined the ARS as Workshop Mem­ bers. Other shorter work- shops may be spon­sored periodically through the year by ARS chapters and others, and are listed in the calendar portion of each ARS News­letter, as well as on the ARS web site, when information becomes available from presenters.

www.AmericanRecorder.org Spring 2015 17 San Francisco Early Music the Devotio moderna and the Protestant and a variety of consorts and repertoire . Society Medieval & Reformation . From the lowest and Students may also choose classes in folk, Renaissance Workshop (ARS) bawdiest to the highest devotional Appalachian, Celtic, Sephardic, and con­ St . Albert’s Priory, Oakland, CA song, all will be fair game . So dust off temporary music . Small classes and easy June 28-July 4 your Books of Hours, bring out your access to faculty create a friendly and Director: Adam Gilbert torches, and help us set fire to some relaxed experience . Continuing Educa­ Faculty: Anne Azéma, voice/collegium; exciting music, both sacred and secular! tion Credit is available to teachers . Vicente Chavarria, voice/guitar; Adam Contact: Adam Gilbert, SFEMS, Four periods each day provide options Gilbert, recorder/double reeds; Bianca PO Box 10151, Berkeley, CA for loud band, early brass, singing, Hall, voice; Shira Kammen, vielle; 94709; [email protected], Baroque flute, pennywhistle, dulcimer Vicente La Camera Mariño, harps; www.sfems.org and harp . Students will have an eclectic Mary Springfels, viola da gamba; experience that brings them back year Mountain Collegium Early Wouter Verschuren, double reeds/ after year . Free time allows for informal recorder Music & Folk Music music-making; evenings include group Workshop Councils and Heretics .This year our theme playing and country dancing with a live explores music inspired by the schisms, Western Carolina University, band . A faculty concert and an informal heresies and Church councils of the Cullowhee, NC student recital top off the week . Mid­dle Ages and Renaissance .The June 28-July 4 Contact: Jody Miller, 404-314-1891; Great Schism in the 14th century and Director: Jody Miller [email protected], the Council of Constance inspired and Recorder faculty: Jody Miller, Pat www.mountaincollegium.org reformed music of the ars subtilior .The Petersen, Gwyn Roberts, Anne Timber- Port Townsend Early Councils of Basel and Florence invoked lake, Lisle Kulbach, Valerie Austin Music Workshop (ARS) Guillaume Dufay to compose some of The Smoky Mountains provide a lovely his greatest music .The followers of location for Mountain Collegium . The University of Puget Sound, Savonarola sang devotional songs as they Comfortable accommodations and class­ Tacoma, WA lit the Bonfire of the Vanities . And the rooms are in an air-conditioned, non- July 5-11 Humanist movement, the Reformation smoking dorm (double or single occu­ Directors: Vicki Boeckman, Artistic and the Council of Trent set their indeli­ pancy) with free high speed internet . Director; Jo Baim, Managing Director ble stamp on sacred music and on how Many meals are catered . Faculty: Miyo Aoki, Vicki Boeckman, we set text to music . This informal yet intensive workshop Louise Carslake, Cleá Galhano, Nina But lest you think we will spend all our offers study of Medieval, Renaissance Stern, Frances Feldon, recorder; time on sacred music, we will pay special and Baroque music, focusing on recorder, Brent Wissick, Mary Springfels, David attention to the rustic and erotic songs viol, voice and other early instruments . Morris, Ellen Seibert (beginners), viol; that filled the tongues of the followers of Classes include technique, improvisation, Adam Gilbert, Phil Neuman, Gayle Neuman, Renaissance winds; Peter Maund, percussion; Peter Seibert, choir Join us this summer for a star-studded faculty, a beautiful tree-lined and easy-to- navigate campus with accessible facilities,

18 Spring 2015 American Recorder and a curriculum that will leave you CAMMAC Early Music Week CANADA; 888-622-8755 X1; 819- [email protected] wishing there were 48 hours in a day! Lake MacDonald Music Center, 687-3323 (fax); , www.cammac.ca Consort and technique classes for Harrington, QC CANADA recorder, Baroque flute, viol, historic July 5-12 reeds, consort and mixed repertoire, Amherst Early Music Directors: Matthias Maute, Festival (ARS) percussion for all levels (and a drum cir­ Marie-Nathalie Lacoursière cle!), and beginning viol . Faculty: Matthias Maute, Marie- Connecticut College, This year we will also offer jazz and Nathalie Lacoursière, Xavier Brossard- 270 Mohegan Ave ,. improvisation, and traditional music Ménard, Laura Pudwell, Francis New London, CT 06320 from the Balkans! Choose a particular Colpron, Femke Bergsma, Sophie July 5-12 and/or July 12-19 period, or mix it up with a class from Larivière, Vincent Lauzer, Betsy Director: Frances Blaker almost every period of music . MacMillan, Marie-Laurence Primeau, Faculty: Letitia Berlin, Saskia Coolen, Work hard and play hard with friends, Geneviève Soly, Caroline Tremblay Héloïse Degrugillier, Valerie Horst, new and old! Intense music-making Music of the German Masters Schütz, Shira Kammen, Na’ama Lion, Pat that will inspire you during the work- Schein and Scheidt, including the Latin Petersen, Wendy Powers, Gwyn shop and throughout the year . Our Magnificat by Schütz . In its 62nd season, Roberts, Nina Stern, Jennifer Streeter, faculty and directors eagerly await CAMMAC provides a unique opportu­ Anne Timberlake, Glen Velez, your arrival and anticipate a splendid nity to make music with family and Reine-Marie Verhagen, Wouter workshop . friends in a beautiful setting under the Verschuren, Tom Zajac; All-Workshop Collegium: Grant Herreid & Contact: Jo Baim, 4727 – 42nd Ave . S W. . guidance of professional musicians . In Ross Brownlee #207, Seattle, WA 98116; 206-932-4623; four daily 75-minute classes plus lectures, [email protected], early music lovers may play to their Music of the Italy and Spain www.seattle-recorder.org/workshop heart’s content . Small ensembles and Largest recorder program in the U S. . voice classes are set up ahead of time; Also voice, dance, Renaissance reeds, viol, San Francisco Early registration for other classes occurs on early notation, and much more for both Music Society Classical site . Courses include choir, large instru­ weeks! Recorder master class, Baroque Workshop For Strings (ARS) mental ensemble, many recorder and ensemble, Renaissance consort, ensemble viol classes, Medieval and Renaissance St . Albert’s Priory, Oakland, CA for large recorders, mixed ensembles, ensembles, percussion, Baroque dancing, July 5-11 Medieval music, traditional repertories Feldenkrais and Commedia dell’Arte, plus Directors: Kati Kyme, William Skeen with Nina Stern and Glen Velez . New courses for adolescents and for children Faculty: Kati Kyme, violin; Lisa Weiss, this year: choral workshop with Kent ages 4-11 . violin; Anthony Martin, viola/violin; Tritle (week 1; see web site for details) . William Skeen, violoncello Contact: Johanne Audet, 85 Chemin Special Audition-only Programs (dead­ CAMMAC, Harrington, QC J8G 2T2 Quartets and More . America’s only work­ line May 1): July 5-12, Baroque shop dedicated to late 18th-century per­ formance practice .We meet for one week in June to explore string chamber music of the Classical era . Morning and afternoon coaching ses­ sions by the New Esterházy Quartet are followed each evening by informal per­ formances of the day’s repertoire . Private instruction and colloquia on bowing and fingering complement our program . String players of all ages and abilities are invited . Pre-formed ensembles are welcome too . Contact: Kati Kyme, SFEMS, PO Box 10151, Berkeley, CA 94709; classical- [email protected], www.sfems.org

www.AmericanRecorder.org Spring 2015 19 Kevin Devine, Aik Shin Tan and practice instrumental and vocal skills, become familiar with and Martin Bernstein at historical performance practices and repertoire, learn about the Amherst Early Music featured music through the lenses of history and culture, and Festival perform with other participants alongside faculty artists . Slavic Discoveries: Early Music from Eastern Europe . Our concert series includes performances by The Rose Ensemble, Piffaro— The Renaissance Band, East of the River, and Ensemble Peregrina, as well as the third annual Handel Aria Competition . Workshop faculty, schedule, more information online . Tuition $550; $525 before June 1 .Work study available . Contact: Sarah Marty, festival coordinator, 608-263-2790, [email protected], www.madisonearlymusic.org Mideast Workshop (ARS) Academy, Recorder Boot Camp; July 12-19, Recorder Seminar, Virtuoso Recorder . La Roche College, Pittsburgh, PA July 12-18 Tuition $570, room & board $185 and up . Director: Marilyn Carlson Work study/scholarships available . Faculty: Marilyn Carlson, Stewart Carter, Majbritt Young Contact: Marilyn Boenau, Executive Director, or Christensen, Judith Davidoff, Ellen Delahanty, Geert van Sally Merriman, Administrator, PO Box 229, Arlington, Gele, Eric Haas, Peter Ramsey, James Young MA 02476; 781-488-3337 (day);408-547-1464 (fax); [email protected] www.amherstearlymusic.org The Late Middle Ages & Early Renaissance . 50-55 students of , all levels .We offer recorder (all levels except novice), viol, harp, Columbia Baroque Soloists Summer Institute flute, voice .You may enroll for recorder, viol, flute as primary instrument; harp, voice, recorder, viol as secondary instrument . University of South Carolina, School of Music, Large and small ensembles: all-workshop ensemble (instru­ 813 Assembly St ,. Columbia, SC 29208 ments and voices), Renaissance band (recorders, viols, capped July 6–27 reeds,), Medieval collegium (The Role of Music in Society – Faculty: Jerry Curry, harpsichord; Jean Hein, Baroque recorders Middle Ages Through Early Renaissance), small consorts (by The English Guys: Purcell And Handel. The solo, chamber and level), voice class (including vocal technique) . Classes include stage music of Handel and Purcell will be the focus in a series Harp-for-Novice (hands-on experience without owning a of four master classes for harpsichord and recorder players on harp), Relationship of Music and Text, bass recorder, Monday evenings in July . Participants will study and play the ornamentation, English Country Dance, mini-series TBA . music of these great composers and gain understanding of their All facilities are air-conditioned . Private bath, refrigerator/ work in an historical context .The last class will feature a recital microwave, live internet in each room . Linens provided . by class participants . Sessions are open to high school/college Exercise room available .Tuition $420 . Room & Board: $400 students, adults and auditors . Advance registration required . (double occupancy), $600 (single occupancy) . Contact: Jean Hein, 4801 Colonial Dr ,. Contact: Marilyn Carlson, 1008 Afton Road, Columbus, OH PO Box 6972, Columbia, SC 29260; 803-727-8555; 43221-1680; 614-754-7233; [email protected], [email protected], www.columbiabaroque.com www.mideastearlymusic.addr.com

Madison Early Music Festival San Francisco Early Music Society University of Wisconsin–Madison, Recorder Workshops (ARS) 455 N . Park Street, Madison, WI 53706 St . Albert’s Priory, Oakland, CA July 11-18 July 12-18 and/or July 19-25 Directors: Cheryl Bensman–Rowe, Paul Rowe, Directors: Rotem Gilbert, Hanneke van Proosdij artistic directors; Sarah Marty, festival coordinator Faculty: (week 1) Louise Carslake, Lisette Kielson, Paul Leen- The University of Wisconsin–Madison is pleased to announce houts,Peter Maund; (week 2) Saskia Coolen, Joan Kimball, the 16th annual Madison Early Music Festival and Workshop Laura Kuhlman, Daphna Mor; (both weeks) Rotem Gilbert, (MEMF) . In addition to a six-event Festival Concert Series, Hanneke van Proosdij lectures and workshop classes provide opportunities to learn Week one: Vilain et Courtois: Music for Kings, Queens, and

20 Spring 2015 American Recorder Peasants .Week Two: Metamorphoses .The SFEMS Recorder Recorder at the Clearing Workshops are located in the intimate setting of St . Albert’s The Clearing, Ellison Bay, WI Priory on the border of Oakland and Berkeley, CA .These July 26-August 1 workshops feature every aspect of music-making for the Directors: Pat Badger, Adrianne Paffrath recorder, including technique classes, Renaissance recorder Recorder ensemble has been a tradition at The Clearing for consort, Medieval to contemporary music and consort music . over 25 years . Ensemble playing is the week’s focus . Each day Featuring small class sizes and an international faculty, these begins with a warm-up of voices and bodies as we sing rounds workshops invite intermediate to advanced recorder players to and ready our muscles for performance . sign up for one or both weeks . Each week concludes with a spectacular performance of all workshop participants in the Daytime sessions focus on rhythmic challenges, recorder tech­ Recorder Orchestra at St . Albert’s beautiful chapel . Evening nique and ensemble blend; emphasis is on growth, process and, events include faculty concerts, lecture demonstrations and a most of all, enjoyment .To participate fully, you need at least focused Wednesday mini-workshop . Enjoy daily Feldenkrais® intermediate skills on a C or F recorder . movement classes, recorder master classes, and a supportive and Adrianne Paffrath coached on recorder with ARS teachers . She social environment in the inspiring setting of St . Albert’s Priory . is music director at Racine’s First Presbyterian Church . Patricia Contact: Rotem Gilbert, SFEMS, PO Box 10151, Berkeley, Badger has studied early music instruments, natural and classi­ CA 94709; [email protected], www.sfems.org cal trumpet . She is performing arts head of The Prairie School . Jointly, they have performed for Medieval festivals, grape Boxwood Canada stompings, Shakespeare celebrations and a circus parade . Lunenburg, Nova Scotia CANADA Cost: $995 Dorm Room Package; $1025 Two-Person Room July 19-25 Package; $1435 Single-Person Room Package (limited avail­ Director: Chris Norman ability); $550 Commuter (limited availability) Faculty/performers: Francis Colpron, recorder; Chris Norman, Contact: The Clearing, PO Box 65, Ellison Bay, WI 54210; flutes; Conal O’Grada, Irish flute; Catherine McEvoy, 877-854-3225; 920-854-9751 (fax); whistles/flutes; Adrianne Greenbaum, Klezmer/ beginning [email protected], http://theclearing.org traverso; Rod Garnett, pan flutes/flute choir; Will Woodson, small-pipes/whistle; Wendy MacIsaac, Cape Breton fiddle; Cambridge Recorder Making Course David Greenberg, Baroque/Cape Breton violin; Natalie Haas, The Champion Workshop at Bury Farm, Bury Road, ’cello; Mary Jane Lamond, Gaelic songs/Puirt-à-beul; Maeve Stapleford, Cambridge CB22 SBP ENGLAND Gilchrist, Celtic harp; Shelley Phillips, oboe/harp; Nic Gareiss, August 10-14 or August 17-21 percussive dance; Marlys Norman, dance/Pilates; Nick Halley, percussion/rhythm; Seph Peters, mandolin/banjo; Yann Make your own professional wooden recorder with expert Falquet, guitar recorder maker Tim Cranmore .You will be involved in making the tools required for the bore, turning the profile from draw­ Discover musical and dance traditions while visiting one of ings, drilling the tone holes, making the headjoint and cutting North America’s most exquisite 18th-century seaside towns . the windway, block fitting, and tuning and voicing the recorder . Concerts, dances, sessions, classes, lectures with leading artists With only two students on the course, you are assured dedi­ in the realms of traditional folk, early music, dance and impro­ cated attention as required . visation .Work study & scholarships available .World-renowned programs for children, teens and adults . Students have the choice of making a number of Baroque The week in Lunenburg emphasizes the flutes, whistles, pipes, Alan Cantor makes a recorder in Cambridge recorders and their musical traditions .The festival encourages a (see his article in the September multidisciplinary approach, inviting a variety of artists, students 2012 AR) and players of all instruments at all levels—novice and experi­ enced . Evenings are filled with social gatherings that include excellent meals handmade from local ingredients, concerts, social dancing, informal gatherings and sessions of music-mak­ ing with students and teachers alike . See web site for pricing . Contact: Chris Norman, Boxwood, PO Box 225, Lunenburg, NS B0J 2C0 CANADA; 917-294-3984 (U S. ),. 902-553-0651 (CAN); [email protected], www.boxwood.org

www.AmericanRecorder.org Spring 2015 21 models, e.g., alto recorder after T . Stanesby Jr ,. A440 or dances, lectures, an all-camp collegium, swimming, delicious A415, voice flute, A440 or A415, or tenor in C, A440 . meals, a faculty concert, a hilarious scholarship auction, fun skit Suitable for adults and students over 16 years old: musicians, night, and informal music-making . artisans and craftspeople . Arrange your own accommodation Classes related to this year’s theme, Over the Moon and Under for the duration of the course, referrals provided . Personal the Sun: Exploration and Innovation, will be supplemented accident insurance is obligatory for overseas participants . by basic technique classes, chorus and historical dance . Contact: Tim Cranmore, [email protected], Academia, directed by Sarah Mead and Lisa Terry, will http://cambridgewoodwindmakers.org/info/courses/recorder- provide focus for the most advanced musicians . making+99.html Cost: $910, scholarships available

Early music Week at Pinewoods Camp (ARS) Contact: Steve Howe, Country Dance and Song Society, 116 Pleasant St ,. Suite 345, Easthampton, MA 01037-2759; Pinewoods Camp, Plymouth, MA 413-203-5467 X2; [email protected], www.cdss.org/em August 15-22 Directors: Jan Elliott, Larry Zukof Rocky Ridge Early Music Festival Faculty/performers: Michael Barrett, Héloïse Degrugillier, Jan and Workshop Elliott, Daphna Mor, Emily O’Brien, Chris Rua, Larry Zukof, Rocky Ridge Music Center, Estes Park, CO recorder; Joan Kimball, Bob Wiemken, winds; Michael Bar- August 19-23 rett, Annie Barrett, voice; Frances Conover Fitch, harpsichord; Director: SoYoung Lee; Jory Vinikour, artistic director (on Lisa Terry, Sarah Mead, viol; Michelle Levy, violin; Haley leave 2015); Paul Miller, interim artistic director Hewitt, harp; Barbara Finney, Anna Rain, English country Faculty: Paul Miller, violin/viola/viola d’amore; Philippe Leroy, dance harpsichord; Anna Marsh, bassoon/recorder; Ann Marie This unique Early Music workshop takes place at beloved and Morgan, viola da gamba/Baroque ’cello; Céline Ricci, voice; semi-rustic Pine­woods Camp near Plymouth, MA . In a relaxed Stephen Schultz, Baroque flute atmosphere, campers combine classes with renowned perform­ The Early Music Academy, set in the splendor of the Rockies, ers, historical and English Country Dance classes, evening invites Baroque music enthusiasts to study with some of

22 Spring 2015 American Recorder A trio work together . Cost of $75 per workshop at participant goes towards instructor hono­ Bloom raria and costs . Donations to help defer Early the costs of food and music are never Music required but always appreciated .We Work- have a maximum of about 30 partici­ shop pants . Private sessions for additional fee . Contact: Dwayne Heisler, 570-317-6214, [email protected], https://sites.google.com/site/bloomearly- musicworkshop/home America’s leading Early Music perform­ Borealis Suzuki Hidden Valley Institute ers .The academy offers private instru­ Winds Institute for the Arts Early Music mental and voice study and chamber- Road Scholar music coaching, as well as daily classes in Edmonton, AB CANADA Baroque and Renaissance ornamentation August 21-25 Carmel Valley, CA and improvisation . Ample time is pro­ Director/Trainer: Kathleen Schoen November 1-7 and/or November 8-14 vided for you not only to make music, but This summer session of the Edmonton Directors: Letitia Berlin, workshop; also to hike and enjoy farm-to-table Suzuki Flute & Recorder Society offers Peter Meckel, HVIA meals and a daily social hour with col­ student programs including master Faculty: (week I ) Janet Beazley, Louise leagues and faculty .The academy is open classes, technique class and repertoire Carslake, recorder; Julie Jeffrey, viola da to voice, strings (violin, viola, viola class for both flute and recorder, and a gamba; (week 2) Larry Lipnik, recorder/ d’amore, viola da gamba, ’cello), Baroque chamber music session for advanced stu­ viola da gamba; Shira Kamen, early and Renaissance winds (flute, oboe, dents .Teacher offerings include teacher strings/singing; Joan Kimball, Renais- bassoon, recorder), and harpsichord . training units for flute or recorder . sance reeds/brass; (both weeks) Letitia Students are encouraged (but not Contact: 10720 - 54 St ,. Edmonton AB Berlin, Frances Blaker, recorder required) to bring period instruments T6A 2H9 CANADA; 780-887-1421; Enroll for one or both weeks . Adults of and bows . Professionals wishing to [email protected], all ages welcome . Both weeks open to broaden their specialty and amateurs www.suzuki-flute-recorder.ca intermediate to advanced players of looking to improve their musicianship recorder, viola da gamba . are welcome to apply .Tuition $885 Bloom Early Music Workshop includes room/board . New: second week special program for 116 Martin Dr ,. Catawissa, PA 17820 Renaissance reeds and brass; admission Contact: Karen Dusek, Rocky Ridge September 4-6 by acceptance of the director only . Music Center, 3970 Broadway St ,. Faculty: Lisle Kulbach, E-mail [email protected]. Suite 201E, Boulder, CO 80304; Larry Lipnik, Jody Miller 970-586-4031; 866-244-7107 (fax); Classes include recorder technique, viol [email protected], Please join us for a weekend of early consort, Baroque chamber music, consort classes for Medieval, Renaissance, http://rockyridge.org, music and other activities in the forest www.facebook.com/RockyRidgeMusic and hills of Pennsylvania . A great oppor­ Baroque and contemporary repertoire, tunity for singers and instrumentalists to workshop orchestra . Evening events include faculty concert, student concert, free-lance playing . Free Wednesday after­ prescott noon for more playing or sightseeing . Improve your playing in a supportive, Workshop friendly atmosphere with world-class 14 Grant Road teachers . Accommodations available Hanover, New Hampshire on campus and next-door hotel . 03755 • USA 603.643.6442 Phone Contact: Peter Meckel, PO Box 116, email: [email protected] Carmel Valley, CA 93924; www.prescottworkshop.com 831-659-3115; 831-659-7442 (fax); [email protected] www.roadscholar.org Devoted to making recorders of the finest possible quality for nearly 40 years. , , http://hiddenvalleymusic.org

www.AmericanRecorder.org Spring 2015 23 ______On the Cutting Edge ______Two Guest Columnists have a Conversation about their Experiences with the Elody

In 2013 Mollenhauer announced the arrival of the Elody, their Hooker has performed widely on the recorder, both as a soloist and “electrifyingly cool” electric recorder described in earlier editions chamber musician and gives regular recitals throughout the UK of this column. Steve Marshall and Helen Hooker got together with The Parnassian Ensemble. Visit www.helenhooker.co.uk. to discuss their experiences with this interesting instrument, Her first solo CD, Helen and Friends, was released to crit- up to the first performance (with the UK’s Phoenix Recorder ical acclaim in 2009 and includes the world première recording of Orches­tra, conducted by Pam Smith) of Marshall’s concerto for Marshall’s Recorder Concerto No . 2, which he wrote in 2005. Elody and recorder orchestra—the first such work for this unique More recently, Marshall has written another concerto for Hooker. instrument in this specific combination (available from May In addition to her performing and teaching, Hooker spends a Hill, MHE 20814, www.mayhill.co.uk/index.php?page=8). large part of her working life conducting recorder orchestras and Their conversation first appeared in The Recorder Mag­azine ensembles. She is Musical Director of the Thames Valley Recorder (UK) in August 2014. The concerto’s three movements may Orchestra, which she formed in 2007, and travels throughout the be heard at: www.youtube.com/watch?v=caY9vBLBM7A; British Isles to work with recorder ensembles as guest conductor. www.youtube.com/watch?v=aTOrXc54MiM; Hooker performs regularly, both as an orchestral player www.youtube.com/watch?v=e2m8l6IHoEI. and soloist, with the Gloucestershire-based Phoenix Recorder Steve Marshall is a mathematics graduate and worked in Orchestra, www.recorder.me.uk/wp/phoenix. She has a good finance for 25 years. He has written music since his teenage years, working relationship with Marshall, the orchestra’s resident com- studying music theory and composition with a diverse selection of poser, and often gives premieres of his new solo recorder works. teachers. His instrument was the saxophone, which he played in a variety of jazz-based bands—but everything changed in 2001, Steve Marshall: To begin with the basics, I should explain when he took early retirement upon returning from 10 years of for readers that the Elody is, at its heart, a three-octave alto working in France. He immediately discovered the recorder, and recorder that goes down to an E, with a small microphone since then he has produced many compositions and arrangements built into the headjoint, and a hole to accept a connector for the instrument. (for the output to the microphone) . Its appearance suggests He and his wife, Ann, publish their work under the banner that it is something more unusual than that, because the of their own publishing company—May Hill Edition, which body is flattened, and there is a choice of several funky air­ has a huge catalog, currently of 350 pieces, including every brushed finishes—mine is an outer space design, complete conceivable combination of recorders from solo to very large with planets and sparkly “suns” (see Hooker’s photo below) . groups, occasionally with other instruments. His work includes Because of the appearance a very common question is, five symphonies and several concertos. “can you make it sound like a recorder?” The answer is yes . As a player Marshall specializes in the bigger recorders It is a recorder and, without being plugged in, it sounds like (including the rare subcontra bass—two octaves below the tenor). a recorder .What do you think about this “natural” sound— He conducts widely in the UK, and is an approved conductor could you play it in a consort? for the Society of Recorder Players. He finally formalized his musical education by obtain- ing a postgraduate diploma in music. Helen Hooker was born and educated in Chichester, England, before studying at Trinity College of Music, London, with Philip Thorby. She graduated in 1993 with a first class degree and the Post-Graduate Certificate in performance with distinction. She now combines performing on the recorder with teaching the instrument and conducting recorder orchestras and ensembles. 24 Spring 2015 American Recorder ... a very full and fruity to the fairly broad windway and extra is successful in that domain . Maybe length of the bore . quite soon Elodies will be everywhere, sound, quite different from and the recorder will be “cool” at last! a Baroque recorder. S: So far we have not touched on the But all we can do here is talk about the real selling point of the Elody—once use that we have made of it . Helen Hooker: Aside from the aes­ it is plugged into a sound system, it thetic differences between the Elody becomes a different animal . It can be H: So, what abilities of the Elody were and other recorders, the biggest issue as loud as the amplification can deliver, you trying to exploit when you wrote of using it in a consort would, in my and because the Elody’s microphone the concerto? mind, be the difference in tone quality . is buried deep within the head joint The Elody produces a very full and means there is no risk of the feedback S: I decided that, first and foremost, fruity sound, quite different from a that is an ever-present problem when I would use the instrument’s ability to Baroque recorder .The bottom notes merely playing into a microphone . come through a sound system loudly, are particularly powerful (more akin to Also, when plugged in, the Elody and use that feature in a concerto . a Renais­sance recorder) and I suspect it has access to a huge range of “effects ”. When writing a concerto-type piece would probably stand out from the These effects, typically designed with for recorder and recorder orchestra you crowd a little too much to allow for a electric guitars in mind, come in often are always worried about audibility of well-blended consort tone . I guess the modestly-priced units, and can deliver the soloist—so, for example, a mellow obvious answer is for Mollenhauer to anything from the subtlest echo to passage of music with the soloist low create a whole consort of Elodies— dramatic and elaborate distortions . on the instrument, but with a thick imagine the fun you could have with I can almost hear the readers orchestral texture, is effectively impos­ that in your compositions . asking, “But why?” Certainly Mollen­ sible .You always find ways of writing hauer’s publicity material makes it clear music that avoids such problems but S: A nice idea, but I may have to wait a that it is intended for use in bands (i.e., I thought, for once, it would be nice few years for that! That covers what the amplified groups playing popular styles not to have to look for such ways . unplugged instrument sounds like . But of music), and time will tell whether it what is it like to play?

H: The thing that caught my attention when you first lent me the Elody is its size and heft . It’s a couple of inches longer than a standard alto recorder and somewhat heavier too .While I’m very used to wrangling larger recorders, they generally have thumbrests, but the flat surface on the reverse of the instru­ ment makes attaching one to the Elody well nigh impossible . I certainly wasn’t going to make any structural changes to your instrument, so the solution for me was to hold it a little higher and more horizontally than I normally would .This approach helped combat the forces of gravity and I soon got used to the new posture . In terms of blowing, the Elody is an easy enough instrument to make friends with . It blows easily throughout the range and top notes are a breeze . One thing that did take a little getting used to was the sheer quantity of breath required, something I put down www.AmericanRecorder.org Spring 2015 25 It was therefore great to write musical passages where playing in three or four parts with yourself . Given the the Elody was quite low, but audible in the same way that high speed of this movement, it is very exciting stuff . a trumpet might be . A concerto was also a natural choice What was it like to deal with these electronics? because, as you know, the Phoenix Recorder Orchestra, in which we both play, includes the marvellous and flexible H: Actually the electronic additions were quite simple for player Helen Hooker, so the choice of soloist was obvious! me to deal with . All I had to worry about was changing How did you find it when we started rehearsals? the setting on the sound module between movements and remembering to nudge the echo pedal on and off in the H: Once I’d got to grips with the quirks of the Elody the right places in my rests in the final movement . As some- actual experience of playing it with the Phoenix was a very one who is unused to marshalling electronic gizmos, straightforward and enjoyable one . Fundamentally, playing a I was grateful to you for keeping it simple! concerto on the Elody is no harder than performing one on a regular alto recorder . In fact, the amplification made life S: I think we have covered all the ground up to the first easier in many ways as I no longer had to worry about performance . During the performance I was busy playing balance issues between me and the orchestra when my contra bass, so I will leave you to tell our readers about it . solo part dropped low in its tessitura . One curiosity that surprised me was how little I was H: The performance itself was a joy .The Phoenix Recorder aware of the amplification when playing with the orchestra . Orchestra are a wonderful group of players who always rise Even though I was standing only a few feet in front of the to the occasion under the skillful baton of Pam Smith . speaker, the sound emanating from the Elody’s labium, just There’s a big element of trust required in coordinating soloist inches from my ears, far outweighed the amplified sound and orchestra, and it’s a dream when you feel you can take a from the speaker .This really brought home to me just how few risks in performance and know that the conductor will important it is to have someone you can trust to adjust the ensure that the orchestra is right on cue at every moment . electronics to get the balance between the Elody and orches­ Steve’s concerto is an absolute gem and it deserves to be tra just right .When playing the Elody I had no idea whether performed more widely in the future . He has a real knack for I was too quiet or dominating the orchestra . writing great tunes and this work is no exception—the fact As someone who generally just plays “traditional” reper­ that several melodies from the concerto have been haunting toire this was a factor I hadn’t considered until we started me as earworms for weeks is surely evidence of that! rehearsing the concerto . Our sound engineer on this occa­ The slow movement is my favorite and a real beauty, sion was yourself, so I assumed we were in safe hands—after which combines some bewitching melodies, with a hint of all, if you weren’t happy with the balance we were in trouble! blues . One particular moment, played by the entire bass clef Would you say that you used the capabilities of the section, gives me shivers down my spine every time I hear it . Elody to the full in your piece? For the audience I think the real wow factor came in the final movement, with the addition of the echo pedal . As S: Absolutely not . At one time I might well have wanted to Steve mentioned, the notes are really quite simple at the start use the Elody to produce the most weird and wonderful but the layering of echoes makes it sound astonishingly vir­ sounds, but nowadays I work much more in trying to use the tuosic .This movement perhaps gave me the most challenges, recorder in ways that gently push the boundaries of recorder mainly from a listening point of view . As a musician you are playing, but still within the mainstream recorder world . taught from an early age to listen to the music around you So for this first Elody composition, at least, I used only when performing, but I found I had to temper this instinct a modest selection of special effects . Each of the three move­ in the final movement .The echo pedal effectively sets the ments uses a slightly different sound, to match the mood of tempo rather than me (that in itself is a little scary), and the music, but these use a vocalist sound module, rather than once that tempo was fixed I found I had to largely ignore a guitarist sound module .The vocalist module tweaks the the echoes around me for fear of distraction . I know Pam natural recorder sound, rather than replacing it with some­ and the orchestra experienced the same issue, as there thing more alien to the instrument . were moments where it was difficult to tell which The “pop” effect I used was in the last movement, where sounds were me and which were the electronics! the Elody is put through a delay pedal .This pedal “remem­ All in all, I loved the experience of playing Steve’s bers” what is played, and repeats it on every beat, until it concerto and it created a real buzz among the audience . gradually fades away . Hence in the introduction and in the I hope that lots more recorder players give the Elody cadenza you start very simply, but before too long you are a try—and take Steve’s concerto out for a run! 26 Spring 2015 American Recorder Compact Disc Reviews ______To Familiarity and Beyond

Reviewed by Tom Bickley, beauty of the quartet’s own arrangement of Milton [email protected] Nascimento’s song of homesickness, Ponta de Areia . The CD version of this release includes a booklet in Falando Brasileiro, Portuguese and English with excellent detail on the music Quinta Essentia Quartet and the instruments used, and overly cute photographs of (Felipe Araújo, Fernanda de the ensemble .The light touch and joy come through the Castro, Gustavo de Fran­ sound much more successfully than in the photos . cisco, Renata Pereira, It appears that the primary distribution in the U S. . is recorders). Kalamata Music, via mp3 downloads rather than the physical disc .There 2014, 1 CD, 58:00 . $5 99. as are a number of Youtube recordings by the Quinta Essentia mp3 download, www.iTunes.com or www.amazon.com; Quartet of music from this CD, which will give a taste of www.5eofficial.com/en and www.kalamata.com.br/site/cds/ what they are doing . Enjoy these steps beyond the more falando-brasileiro . familiar repertory . An English version of this ensemble name could be the “Fifth Essence Quartet,” (or perhaps “fifth element”), which Matthew Locke: The has a certain sense of mystery and of stepping beyond the Broken Consort, Part 1 usual expectations of earth, water, air and fire . and Tripla Concordia, Not only does this group do that in terms of the use of The Wayward Sisters (Anne Baroque and newly-designed recorders (including Adriana Timberlake, recorder; Beth Breukink’s Eagle, plus instruments by Nik Tarasov, Helder Wenstrom, Baroque violin; and Paetzold), but also in the choice of repertory . Compo­ Anna Steinhoff, Baroque sitions on this disc go back as far as 1929 and are as recent ’cello; John Lenti, theorbo) . as 2011 . Falando Brasileiro (“Speaking Brazilian”) treats Naxos 8 573020,. 2014, 1 CD, 67:43 . $9 99. via www.naxos. listeners to popular songs as well as readily accessible art com/catalogue/item.asp?item_code=8.573020 and other music from their country . sources; $7 99. as mp3 download, various sources . Info: The album has nine works across the genres of ver- www.waywardsisters.com . nacular and art, and with inspiring sonic coherence among The Wayward Sisters won the 2011 Early Music the music languages . On the art music side are Eduardo America/Naxos Recording competition (see the January Escalante’s Quatro peças para flautas doces and Quarteto nr. 1 2011 AR), and this striking CD is the result . Matthew para flautas doces, and Bruno Kiefer’s Poemas da Terra (which Locke’s consort music is much loved by those of us familiar you can hear at www.youtube.com/watch?v=HvC9dgGUv2o) . with its quirky charms . It is a 17th-century repertory that One recognizes the mainstream 20th-century classical music deserves wider exposure .This recording will help that . vocabulary, and also can hear a certain dancing quality that The term “broken consort” refers to an ensemble of connects with all of the other works here . instruments of different families (e.g., winds, bowed strings, Choro do Fábio and 1º Suite infantil fill a space between plucked strings) playing together .This contrasts with con­ the popular and art music worlds . Some of the most ear- sorts of like instruments, with the recorder consort being catching playing happens with the pop tunes . It’s no surprise familiar to most of us . that some works leap out as glittering sonic objects: Paul The music recorded here is written to exploit both the Leenhouts’s arrangement of famous Brazilian bossa nova similarities and differences of a varied (“broken”) consort . It composer Antônio Carlos Jobim’s Desafinado (with the col­ is polyphonic, and the lines of melodies and instrumental orful translation “off key”), and the quartet’s own arrange­ timbres weave together wonderfully . ment of Jura by José Barbosa da Silva, the Brazilian samba The Wayward Sisters focus their ensemble sound mar­ composer also known as Sinhô .The real standout is the velously for these pieces .

www.AmericanRecorder.org Spring 2015 27 Inspired of tunes many of us know from Jacob by Song, “Classical music is van Eyck’s 17th-century collection, Stefan not about visiting a Der Fluyten Lust-hof . Part of the appeal Temmingh, of this recording is the liberal sprin­ recorders museum but is an kling of dazzling versions of selections and direc- from Van Eyck and from another tion; Doro­ act of celebration... 17th-century collection, The Division thee Mields, soprano voice, Flute . Worthy of particular notice is with Gentleman’s Band (Rolf Everyone is invited.” Temmingh’s performance of Johann Lislevand, lute & Baroque gui- Schop’s setting of John Dowland’s tar; Axel Wold, lute; Marget impact, in some ways similar to the Lacrimae Pavane. Koell, Baroque harp; Wiebke impact and style of a winning perfor­ I imagine this disc getting airplay Weidanz, harpsichord; Domen mance on American Idol . on college radio as well as within the Marinčič, viola da gamba & This kind of appeal goes a long classical music outlets .The sound will Baroque ’cello). Deutsche Har­ way to demonstrating the charm of appeal to many listeners; along with mo­nia Mundi/Sony 88843044582, the recorder (and more broadly, early the wonderful Brazilian music by 2014, 1 CD, 69:00 . CD abt . $17 88,. music’s vernacular) to general audi­ Quinta Essentia Quartet, it is an www.amazon.com, other online ences . It’s clear that there is a crossover ear-opening experience . sources; or e-mail info@andreasjanotta. market, with folk music audiences and com. Information/audio samples: the numerous recordings of “roots” www.inspiredbysong.de/?lng=en, www. early music of the British Isles . Inspired youtube.com/watch?v=l8bbSYOF_Mw . by Song touches on this same repertory, South African recorder player but the sound seems to me to go Stefan Temmingh explains the idea beyond that: the crossover audience for this CD with the laudable senti­ appeal appears to be with consumers of Honeysuckle Music ment, “Classical music is not about vis­ recordings like those of Andrea Bocelli, iting a museum but is an act of celebra­ the Italian tenor made popular by PBS . Recorders & accessories tion commemorating our love of life . This is not to disrespect the significant ... musicianship of any of these perform­ Everyone is invited ”. Thus he works Music for recorders & viols with German soprano singer Dorothee ers, but rather to connect the dots from Mields and his Gentleman’s Band to the mass emotive appeal of the pop- Jean Allison Olson record 18 tracks of early music with opera sound and Temmingh’s sonic 1604 Portland Ave. St. Paul, MN 55104 texts and themes connected to com­ approach to “commemorating our love of life ”. 651.644.8545 mon experiences of our emotional lives . [email protected] The playing and singing are flam­ A recorder-centric pleasure in boyant; compared to the light touch this disc is hearing the sung versions employed by Quinta Essentia Quartet, Inspired by Song feels like stadium rock . The pieces are almost all familiar and rightly well-loved .The audio produc­ tion is quite “hot,” with the instruments and voice very present, yet with a good stereo image .The result has a palpable Please support our loyal advertisers!

28 Spring 2015 American Recorder Music Reviews ______Ut Orpheus Edizioni, Lost in Time Press, ______and a few others, especially from PRB and by Harold Owen

EDITIONS FROM Ut Orpheus The score is beautifully hand-cop­ 40 AIRS ANGLOIS ET UNE Edizioni, www.utorpheus.com ied . Some minor contemporary nota­ CHACONNE, by George tion is used, but the basic components Bing­ham, ed. Nicola Sansone, TOUPIE (1994), by Caterina of the notation are largely traditional . FL17, 2012 . A, bc . Sc 37 pp, pt 19 pp . Calderoni. FL10, 2009 . Abt . $26 95. . A . Sc 4 pp . $13 TRE MICRO-MELISCHE DI Nicola Sansone’s preface contains Italian composer Caterina APOLLO E MARSIA, by Ales­ interesting assertions about the place Calderoni (b . 1963) is professor of sandra Bellino . FL16, 2008 . of the recorder in music history: composition at the Conservatory A, violin . 2 scs 11 pp ea . Abt . $18 . The 20th century represented doubt- G . Nicolini in Piacenza . She is active as Alessandra Bellino (b . 1970) is an lessly the most important historical period a composer of music for both concert Italian composer who has won numer­ for the recorder because this instrument, and film, and also performs as a pianist, ous European prizes and is a member playing different roles, was protagonist of specializing in 19th-century lieder . of the faculty of the conservatory in the revival of ancient music in England Toupie means “spinning top”, Benevento . She has written several at the beginning of the century and is the which is portrayed musically in this works for recorder and describes this instrument on which modern musical dramatic and engaging alto recorder work as follows: “The modern Apollo pedagogy has been based in Germany and solo .The music begins with just the and Marsia contend for the ‘scene’ in other European countries since 1920-30. pitches G, B and Eb . Other pitches these three ‘Micro-meliche’ .The choice The second post-war period then wit- are added first simply as decoration, to assign the two instruments definite nessed a remarkable flowering of composi- but then become part of the main, gestures originates from the idea of tions, characterized by a very ample vari- frenzied discourse . bringing the listening back to a sonor­ ety of stylistic trends, from the most Retro Much of the score is notated on ity that ‘reminds’ somehow of the style to the most audacious experimental- three staves, to show a differentiation ancient instruments (lyra and aulos) ism. Since about 1970, the recorder has of “voices” and characters within the but with an eye to the future ”. finally known a great worldwide success single line . It is a work for a very This is an extremely difficult as an amateur instrument…. advanced player; the music requires a piece in three brief movements .The This series intends both to propose command of the virtuosic technical music is entirely unmetered and filled the original repertoire of the past centuries, demands, but also keen musical under­ with nearly constant use of extended with the matching of well-known com- standing, so as to project the varied techniques . Many of the effects are posers and pieces with others less known or characters and lines coherently . subtle in their aural impact, and it is still unpublished, and to promote present- music that requires a tremendous day music in all its various aspects, in KEY: rec=recorder; S’o=sopranino; amount of technical and musical belief that Recorder has the right to a spe- S=soprano; A=alto; T=tenor; B=bass; ability to execute successfully . cial place in an advanced musical civili- gB=great bass; cB=contra bass; Tr=treble; qrt=quartet; pf=piano; fwd= foreword; A page of detailed explanation of zation, not only for its role of historical opt=optional; perc=percussion; pp=pages; all extended notation is provided; both memory or for its educational and recre- sc=score; pt(s)=part(s); kbd=key­board; bc=basso continuo; hc=harp­sichord; players read from copies of the score . ative functions, but also and above all as P&H=postage/handling . Multiple reviews Carson Cooman is an active com- a musical instrument ‘translator’ and by one reviewer are fol­lowed by that poser with a catalog of more than 600 ‘messenger’ between different languages, review­er’s name . Publi­ca­tions can be pur­ chased from ARS Business Mem­bers, musical works in many forms, ranging bearer and promoter of an active, sharable your local music store, or directly from from solo instrumental pieces to operas, and open musical culture. some distributors . Please submit music and from orchestral works to hymn tunes. The composer of all but one of and books for review to: Sue Gros­kreutz, 1949 West Court St., Kankakee, IL 60901 U.S., His work is recorded on over 10 labels, the pieces, George Bingham, is not [email protected]. including Naxos and ABC Classics. to be confused with the American

www.AmericanRecorder.org Spring 2015 29 painter George Caleb Bingham .This I have reviewed other books lishing industry and the well-paying Bingham was an English composer positions for the musical establishment who worked in Amsterdam at the from this four-volume of the numerous churches and the beginning of the 18th century . Little series and find this one as confraternities . seems to be written about him, which useful and well-done as Of the many composers active fits the series’ goal of “less known or at this time, the most renowned was still unpublished” works . the others.... The recorder Giovanni Gabrieli, who was best- Piece #41, the “une Chaconne,” parts are at an intermediate known for his large-scale ceremonial is by Gottfried Finger (c 1660–buried. level, with a few being music intended not only for the cathe­ August 31, 1730) . Also known as slightly more challenging. dral of San Marco, but also for the Godfrey Finger, he was a Moravian confraternity of San Rocco . Gabrieli Baroque composer . Born in Olomouc, one as useful and well-done as the oth­ and his uncle, Andrea, had a number in modern-day Czech Republic, he ers .This volume includes two indices . of pupils, many of whom went on to worked for the “popish” court of One is an annotated index that gives achieve fame on their own . James II of England, and died in the title, key, tempo and page number In the Venetian musical culture, Mannheim, Germany . of the pieces in this specific volume . sacred music reigned supreme, but I have reviewed other books from The other index covers all four vol- instrumental music played an increas­ this four-volume series and find this umes in the series . It lists “two recapit­ ingly important part in Venetian festi­ ulatory charts for major and minor vals, processions and church services . tonalities respectively … with the pur­ It is through the meticulous record­ pose of providing a didactic instru- keeping of the Venetians that we ment able to help the player to identify find indications of instrumentation . some technical and musical progres- The instruments most often encoun­ sive goals ”. (The other three volumes tered were the violin, cornetto and are 50 Airs Anglois, FL2; 40 Airs Anglois sackbut .Those were nearly always et 3 Sonates, FL6; and 40 Airs Anglois, found only in the largest, richest FL11, all composed primarily by churches and confraternities . Bingham and edited by Sansone ). In smaller districts of Venice, the It should be noted that the bass recorder was very popular . One such lines are not realized .The recorder district was the sestiere (quarter) of San parts are at an intermediate level, with Polo . Many of the composers working a few being slightly more challenging in San Polo specified recorders, includ­ due to ornamentation suggestions . ing Giovanni Battista Riccio, Francesco This book would be a good Usper, Giovanni Battista Grillo, addition to a recorder teacher’s library . Giovanni Priuli and Giovanni Picchi . Valerie E. Hess, M.M. in Church All wrote small-scale instrumental and Music/Organ from Valparaiso Univer- vocal works that specified the recorder, sity, is Coordinator of Music Ministries including the instrumental canzone at Trinity Lutheran Church, Boulder, found in this welcome collection . CO, where she directs the Trinity Con- At the time of his death on May sort. She has also published two books 19, 1643, Picchi was said to have been on the Spiritual Disciplines. 71 years old, indicating his birth date must have been in 1571 or 1572 . He 3 CANZONI DA SONAR (1625), was the organist at the Basilica di by Giovanni Picchi, ed. Nicola Santa Maria Gloriosa dei Frari from Sansone. FL8, 2009 . Var . Sc 24 pp, about 1607 until his death . He also pts 4 pp . Abt . $37 . held the post at the Scuola di San In the closing years of the 16th Rocco (confraternity of San Rocco), century, Venice was regarded as the previously held by Giovanni Gabrieli center of European music .The reasons some decades prior . for this are numerous, having to do Picchi may have been a lutenist mainly with Venice’s large music pub­ as well .The dance treatise by Fabrizio

30 Spring 2015 American Recorder Caroso has an engraving of Picchi as American Recorder Society Publications lutenist on the cover . (Interestingly, the only portrait we have of Gabrieli Musical Editions from the Members’ Library: Additional hard copies may be ordered: ARS Members, $3; non-members, $5 (including U.S. postage). depicts him playing a lute ). Please ask about discounts for multiple copies. ARS Members may also download at the ARS web site. It is certain that Picchi had an Algunos lugares 1 (A solo) Marcelo Milchberg Little Girl Skipping and Alouette et al interest in dance music, unlike many Arioso and Jazzy Rondo (AB) Carolyn Peskin (SATBcB) Timothy R. Walsh Belmont Street Bergamasca (ATB) Sean Nolan Los Pastores (S/AAA/T + perc) of his contemporaries . In 1619 he Berceuse–Fantaisie (SATB) Jean Boivert Virginia N. Ebinger, arr. Blues Canzonetta (SATTB) Steve Marshall Lullaby (AATB) and Cake Walk (SATB) from published the collection Intavolatura Bruckner’s Ave Maria (SSATTBB) Suite for Recorder Quartet Hildegard Erle di Balli d’Arpicordo .The apparent pop­ Jennifer W. Lehmann, arr. New Rounds on Old Rhymes (4 var.) Canon for 4 Basses (BBBB) David P. Ruhl Erich Katz ularity of this book can be seen from Dancers (AT) Richard Eastman Nostalgium (SATB) Jean Harrod Danse de Village (SAB) Kevin Holland Other Quips (ATBB) Stephan Chandler the reprint in 1621 . A toccata by Picchi Different Quips (AATB) Stephan Chandler Poinciana Rag (SATB) Laurie G. Alberts appears in the Fitzwilliam Virginal Elegy for Recorder Quartet (SATB) Santa Barbara Suite (SS/AA/T) Erich Katz Carolyn Peskin Sentimental Songs (SATB) David Goldstein, arr. Book, attesting to an international Elizabethan Delights (SAA/TB) Serie for Two Alto Recorders (AA) renown . Jennifer W. Lehmann, arr. Frederic Palmer Faded Memories/Opus 88 (ATBB/SATB) Slow Dance with Doubles (2 x SATB) The pieces in this collection from William Ruthenberg Colin Sterne Fallen Leaves Fugal Fantasy (SATB) Sonata da Chiesa (SATB) Ann McKinley the Italian publisher Ut Orpheus are Dominic Bohbot S-O-S (SATB) Anthony St. Pierre taken from Picchi’s 1625 collection Four Airs from “The Beggar’s Opera” (SATB) 3 Balkan Line Dances (SATB) Emilie George, arr. Kearney Smith, arr. Three Bantam Ballads (TB) Ann McKinley CANZONI / DA SONAR CON OGNI Gloria in Excelsis (TTTB) Robert Cowper Three Cleveland Scenes (SAT) Carolyn Peskin He Talks, She Talks (AT) Bruce Perkins Three in Five (AAB) Karl A. Stetson / SORTE D’ISTROMENTI / A Due, Havana Rhubarb Rhumba (SATB up to Tracings in the Snow in Central Park (SAT) Tre, Quattro, Sei & Otto Voci, / con il suo 7 players) Keith Terrett Robert W. Butts Idyll (ATB) Stan McDaniel Trios for Recorders (var.) Basso Continuo .The set contains 19 Imitations (AA) Laurie G. Alberts George T. Bachmann pieces in all, both canzoni and sonatas, In Memory of Andrew (ATB) David Goldstein Triptych (AAT/B) Peter A. Ramsey In Memory of David Goldstein (SATB) Two Bach Trios (SAB) William Long, arr. and is one of very few publications of Will Ayton Two Brahms Lieder (SATB) Lay Your Shadow on the Sundials (TBgB) Thomas E. Van Dahm, arr. purely instrumental music printed in Terry Winter Owens Variations on “Drmeš” (SATB) Martha Bishop Venice . As is the case with Riccio and Leaves in the River (Autumn) (SATB) Vintage Burgundy (S/AS/ATT) Erik Pearson Jennifer W. Lehmann, arr. Usper, Picchi adapts the successful LeClercq’s Air (SATB) Richard E. Wood Western Union (ATBgB) Peter Dixon techniques employed in Gabrieli’s ZIP Code Boogie (SATB) Charlotte Van Ryswyk large-scale ceremonial works for his ARS Information Booklets: own smaller-scale needs . 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 Each of these pieces contains its *Free online to ARS members own original instrumentation . Sonata Adding Percussion to Medieval and Improve Your Consort Skills Susan Carduelis Renaissance Music Peggy Monroe Music for Mixed Ensembles IX is scored for two violins, “flauto” *American Recorder Music Constance Primus Jennifer W. Lehmann and continuo . Canzon X requires two Burgundian Court & Its Music *Playing Music for the Dance Louise Austin Judith Whaley, coord. *Recorder Care Scott Paterson “flauti,” two trombones and continuo . Sonata XVI is marked for two violins, Education Publications Available Online and Free to Members The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). two “flauti,” trombone, fagotto (curtal Guidebook to the ARS Personal Study Program (1996). or dulcian), and continuo . ARS Music Lists. Graded list of solos, ensembles, and method books. The designation of “flauto” clearly Videos Available Online to All refers to the recorder, as the flute was Recorder Power! Educational video from the ARS and recorder virtuoso John Tyson. An exciting resource about teaching recorder to young students. normally referred to as “traverso ”. The Pete Rose Video. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music question remains as to which recorder Festival recital. The video features Rose performing a variety of music and in an interview with ARS member professional John Tyson. Picchi needs .The editor comments that the normal size of recorder in Other Publications Chapter Handbook. A resource on chapter operations for current chapter leaders or those Venice at the time was the treble considering forming an ARS chapter. ARS members, $10; non-members, $20. (alto) recorder in G .The musical One free copy sent to each ARS chapter with 10 members or more. Consort Handbook. Available Online and Free to Members. requirements of the recorder parts Resource on consort topics such as group interaction, rehearsing, repertoire, performing. are modest: from middle C (notated: Shipping & Handling Fees: Under $10 - add $3; $10-19.99 - add $4; $20-29.99 - add $5; $30-39.99 - the actual pitch was likely an octave add $6; $40-49.99 - add $7. All prices are in U.S. dollars. For Canadian or foreign postage, pay by credit card higher) to top-line F on the staff . and actual postage is charged. Please make checks payable to ARS. VISA/MC/AMEX/Disc also accepted. Other pieces specifying the recorder by See www.AmericanRecorder.org for complete publication offerings. other composers have similar ranges . ARS, 10000 Watson Rd., Ste. 1L7, St. Louis, MO 63126 In practice, the recorder parts do 800-491-9588 [email protected] work better with treble recorders in G, www.AmericanRecorder.org Spring 2015 31 but soprano recorders in C can be used, recorders and viols, another sonorous The basso continuo is not optional provided they are Renaissance record­ combination with a different character . in this music . Given the wide gaps in ers .That design has a stronger lower The expatriate Venetian composer the harmony, where violins and record­ register than do the more common Massimiliano Neri, writing from his ers are found in the highest ranges and Baroque recorders . If modern recorders post at the royal court in Munich in the trombones and dulcian occupy the are used, alto recorders in F reading up 1651, notes: “Dear reader, I advise you lowest ranges, that leaves the middle an octave will provide better balance . that, though each Sonata has been register empty . Without the continuo To properly balance the recorders, assigned its instruments, it is left to the filling in the gaps, this music can sound sackbuts and violins with gut strings performer’s discretion to change them decidedly odd . should be used . in accordance with his taste and conve­ This continuo part, like the others However, the prospective buyer nience ”. Clearly Neri was aiming for a from Ut Orpheus, has been left unreal­ should not be locked into a strict inter­ larger audience, as his common ensem­ ized . A competent player familiar with pretation of the instrumentation . We ble—the unique combination of violin, the basics of basso continuo playing successfully tried the marked instru­ cornettino, trombone and dulcian— will be of great assistance in playing mentation . Later we played them with was not found elsewhere . these pieces . This edition is very user-friendly . The music is large, clear and easy-to- read . Page turns are not a problem . There is a short introduction in both Italian and English . This set will be useful to a small ensemble interested in exploring some of the lesser-known music of the early Baroque . Ut Orpheus is to be com­ mended for bringing this undeservedly obscure music back to our attention . Frank Cone studied the recorder with the late Ellen Perrin, the viola da gamba with Carol Herman, and the cornetto with Larry Johansen. The California multi-instrumentalist has been a member of the Orange County Recorder Society since 1985. Sinfonia [I] for 2 Recorders (flutes), 2 Horns, 2 Violins, Viola and Bass (1779), by Andrea Favi, ed. Nicola Sansone. FL15, 2011 . Sc 40 pp, pts 48 pp . $35 95. . Sinfonia [II] for 2 Descant Recorders in B , 2 Horns, 2 Violins, Violab and Bass, by Andrea Favi, ed. Nicola Sansone. FL18, 2012 . Sc 36 pp, pts 32 pp . $31 95. Mozart-era music from Bologna for “tenorino” recorders, horns and strings—who knew? According to Nicola Sansone’s informative introductory essays, the area between Bologna and Forlì—the capital of Italy’s Romagna region— 32 Spring 2015 American Recorder for Sinfonia [I] can also be played by a Mozart-era music from pair of flutes (traversi)—the primary Bologna for “tenorino” instrumentation indicated in Favi’s recorders, horns and manuscript—and they also fit on strings—who knew? a pair of sopraninos . Sinfonia [II] is more problematic . produced a small but significant reper­ The original “tenorino” parts are written toire of music using “tenorino” recorders in transposition, preserved in this edi­ in the years surrounding 1780 . Seven of tion, so that a recorder player reading the surviving works are by composer in alto fingering on a Bb recorder would Andrea Favi (1743-1822) . produce the intended pitches! If the Sansone engages in considerable editor had included an alternative set speculation about what a “tenorino” of recorder parts at concert pitch, it recorder could be, concluding that the would have been easy to substitute term refers to a descant recorder in Bb . soprano recorders for the “tenorini” This size of recorder—more commonly without altering the music, making called a “fourth flute” because it is this edition much more practical . pitched a fourth above the standard- Gwyn Roberts is a performer/teacher sized alto in F—is an octave higher of recorder and flute. She is co-director of than the tenor recorder in Bb that was Tempesta di Mare Philadelphia Baroque common in the region at the time . Orchestra & Chamber Players, and a Sinfonia [I] also calls for “ottavino” faculty member at both Peabody Con­ recorders, which are an octave higher servatory and University of Pennsyl­ than altos in F (our familiar sopranino vania, serving the latter as Director of size), and asks the players to switch Early Music. www.tempestadimare.org, back and forth between the two sizes [email protected] within each movement . These two sinfonias are attractive works in the Classical style .The exten­ sive unisons between the two violin parts suggest that they are intended for orchestral rather than chamber forces . In both sinfonias, the recorder parts resemble orchestral flute parts from the era: they double the strings or play chord tones in tutti sections and are featured either alone or alongside the horns from time to time, usually accompanied by the violas .The small- sized “tenorino” and “ottavino” recorders specified would sound an octave higher than the rest of the orchestra, giving them the boost in volume and separa­ tion needed to make them audible above the rest of the orchestra . Since few recorder players in the world today have access both to a pair of descant recorders in Bb and to an orchestra of Classical strings and horns, these beautifully-produced editions will likely receive few readings with all of those instru- ments present .The recorder parts www.AmericanRecorder.org Spring 2015 33 EDITIONS FROM LOST IN TIME PRESS, www.lostintimepress.com

IN SIGHT OF THE OCEAN, by Frances Blaker, ed. Corlu Col­ lier. LIT019, 2009 . SAATB, bass gamba/cB rec . Sc 8 pp, 6 pts 2 pp ea . $18 . Frances Blaker received her performance degree in recorder from the Royal Conservatory of Music in Copenhagen, Denmark, where she studied with Eva Legêne . She also studied with Marion Verbruggen in the Nether­ lands . A professional recorder player, musician, composer and workshop director, she performs as a member of Farallon Recorder Quartet, Tibia Duo and Ensemble Vermillian . Many players in our consort have attended her recorder workshops sponsored by the Little Rock (AR) ARS Chapter and can attest to her expertise as a director . Her own comments on the score, some of which I have selected, best describe the purpose and technique for composing this work: “The Oregon Coast Recorder Society invited me to compose a piece of music in honor of their director, Corlu Collier… So. in thinking of Corlu I very often think of the ocean, too, and could find no better title than In Sight of the Ocean … the ocean that, while seeming calm on the surface, surges with power below . I tried to bring both of these states of energy into the music ”. Blaker has succeeded in this effort, starting calmly with only the lowest bass and adding voices, one by one, from the bottom up until beginning the surge with all voices playing (m . 26) . Rhythms get a bit more complex from there to the end, with syncopation, more eighth notes and after-beats . With no page turns, the score and parts have a clear format .The parts are not difficult, but players must pay attention to detail and keep together . Our consort enjoyed playing In Sight of the Ocean—except for our huffing and puffing contra player, who was required to play constantly with no place to breathe! Blaker was wise to specify gamba as an alternative for this voice, although ’cello or string bass would work well . One never runs out of bow! This composition, she explains, is a work in progress; this is merely the first movement . We can all look forward to more . INTO THE WOODS OR A’HUNTING WE WILL GO, by Frances Blaker, ed. Corlu Collier. LIT018, 2009 . Gemshorn quintet/S’oSATB . Sc 9 pp, pts 2 pp ea . $18 . Frances Blaker tells us that this piece is suitable for recorders or like instru­ ments . Lacking the suggested gemshorns (or like instruments), we used record­ ers . Consorts should not avoid Into the Woods just because it calls for gemshorns . Blaker’s comments on the score best describe the work’s purpose and tech­ nique: “Into the Woods was written for the Oregon Coast Recorder Society, whose members also play all sizes of gemshorns . I was inspired by the ancient idea of making a flute from a goat’s horn… .The simple story below* came to mind, and I had great fun writing parts for goats—dissonances created by sepa­ rate lines bumping into one another; bits of bird song; random little outbursts from one part or another . As a musical structure, the piece starts simply, increases in complexity to the center, and then winds down in the reverse order . Essentially [it creates] a pair of mirror images, although with many changes ”. *”One day the little herd of five goats decided to go hunting for little birds .They headed off cheerfully into the woods, planning to lure the birds to them by imitating bird songs ... however, they didn’t get the songs quite right, and in any case soon began to forget what they were doing. Feeling hungry, one by one they wandered back to their sunny meadow to munch grass.”

34 Spring 2015 American Recorder Our consort had fun with this piece, but often got lost right before a cave-in ”. For players whose tenors lack a low (like the goats) . On the first reading somebody bleated, as Db, the composer has furnished a bass part as an alternative suggested by Blaker; we all broke up, then started over . to the second tenor; however, a play-through comparing The individual parts are not difficult, but keeping the bass to tenor revealed that the bass provides the firmer ensemble together requires careful attention .There are foundation .The beaming across rests in the first tenor part meter changes: 4/4, 5/4, 3/4 and 6/4 . We decided to insert was somewhat confusing on the first reading . A colorful letters in appropriate places .There are no page turns, and feature is the synthetic scale ostinato . the score and the parts both show good, clear formatting . Strong contrast of mood from one movement to The moral of this story might be: another is among features that make this set satisfying to These goats don’t hunt, or bleat, very well . play and hear .Time invested in preparation will be amply The late Bill Rees was music director of the Bella rewarded . Vista Recorder Consort in Arkansas. Prior to retirement he taught woodwinds and music education at East Texas State 24 FIGURATIONS, by Paul Ashford. LIT003, 2007 . University (now Texas A&M–Commerce), performed on AAT . Sc 19 pp, 6 pts 6 pp ea . $20 . recorder and traverso with the Texas Baroque Ensemble, Paul Ashford (1902–52, or 1906-52) grew up in taught public school instrumental music in Western NY State Wash­ington state, where he studied music at the University and served as a U.S. Navy musician. He was active in the of Washington in Seattle . He took up the recorder in the recorder movement since the ’60s and served on the ARS Board. late 1930s and figured prominently in founding the Seattle Recorder Guild in 1948 .To learn more about Ashford, FOUR PIECES FOR RECORDER, by Frances refer to Eileen Flory’s article, “Paul Ashford and the West Blaker. LIT009, 2007 . ATB, var . combs . Sc 12 pp, Coast Recorder Guild: A Short History,” in the November pts 4 pp ea . $20 . 2007 issue of AR . These pieces for recorder trio have their genesis in The 24 Figurations (variations) were composed the composer’s residency at the Sitka Center for Art and approximately 60 years ago for the West Coast Recorder Ecology in Otis, OR .The set opens with “Foxes and Guild (based also in Seattle) and dedicated to the editor of Ravens” (AAA), a lively representation of these critters Lost in Time Press, Corlu Collier (C . L . Robinson at the at play . Juxtaposition of conjunct and disjunct motives, as time of the dedication) .The subject of these variations is a well as imitative counterpoint at close linear proximity, very simple, undistinguished eight-bar theme in E minor, are well applied to achieve a playful effect . At a brisk composed almost exclusively in quarter notes .Through tempo—which the composer says is not absolutely most of the piece, the variations dovetail one another so essential for a successful rendition—the wide leaps will that a steady flow is maintained . certainly be a challenge . Players will save rehearsal time The tonality persists throughout except in a variation by reading from the score during initial runthroughs . labeled “hot jazz ”. Greater variety is evident in the changes “Wind Ships,” for ATB, incorporates slow, descending of meter and tempo as well as in the fleshing out of the modal scales as well as sustained dissonances to evoke the eight-bar theme in some variations, with divisions a feature image of fog and moving cloud . We hear quotes from John of many .The three parts are unremittingly coequal .Three Dowland’s famous Lacrimae. extra parts are included to suit gambas . In “New Psalm,” also for ATB, the composer offers 24 Figurations is moderately challenging .The first alto stylized quotations from Amazing Grace . But for a single player must be adept in the highest range of the instru­ accidental, it is otherwise strictly diatonic (C major) and ment . A reading ran to nearly 14 minutes .The sequence almost as pentatonic as the quoted tune . A curious feature of the variations seemed arbitrary, and the piece closed of this movement is its grace notes following the principal abruptly . Lost in Time Press has published five other works note . Blaker’s introduction refers to “lovely little voice ris­ by Ashford—another trio and four quartets . Like the pres­ ings at the ends of phrases ”. If the grace notes indeed repre­ ent trio, none requires the bass, a rarity in Ashford’s day . sent these lifts, players could stand a bit of instruction on Anthony St. Pierre, of Toronto, ON, has composed exten- their execution . Because of the relatively low tessitura, the sively for recorders. His Folia à 4, third prize in the 2007 tenor solo at the opening is difficult to discern . Chicago Chapter’s composition competi­tion, may be heard at: Rapid repeated rhythms on single pitches characterize www.folias.nl. He holds a B.Mus. in composition from Ohio the fourth piece, “Woodpeckers and Tommy Knockers” State Univer­sity and M.Mus. in his­tor­ical per­formance prac- (ATT) . According to www.AmericanFolklore.net, “Tommy tices from Wash­ington Uni­ver­sity. In the 1980s, he played oboe Knockers are the spirits of departed miners that help min­ with Tafelmusik Baroque Orchestra and with the Studio de ers find ore .They also knock on the walls of the mines musique ancienne de Montréal.

www.AmericanRecorder.org Spring 2015 35 LEATHER BRITCHES, by Paul Ashford, ed. S/S’oSAATT, treble gamba, tenor gamba, double bass Corlu Collier . LIT006, 2007 . SAA/TT . Sc 4 pp, or bass gamba, pf . Sc 14 pp, pts 2 pp . $22 . Orch . pts $20 . pts 1 p ea . $8 . These two works by Frances Blaker are written with MONEY MUSK, by Corlu Collier. LIT008, 2007 . a great deal of flexibility . Mutations is a suite of four move­ SAA/TT . Sc 4 pp, pts 1 p ea . $8 . ments, the last of which, “Perotinian,” is also presented in a These two sets of variations on American folk country recorder orchestra version . Similarly, Sans Issue is presented fiddle tunes would delight and challenge an intermediate in both small ensemble and orchestral form . or higher-level quartet . Paul Ashford is quoted in the intro­ Blaker gives directions for four possible instrumental duction: “Fiddle tunes are an important part of our heritage combinations for the expanded recorder version of of American folk music .Their racy rhythms and exuber­ “Perotinian,” as well as the further possibility of adding up antly flowing melodies give zest to any dancer’s weary feet ”. to four viols .To expand Sans Issue, Blaker invites perform­ Leather Britches, originally written for the Seattle ers to “play any part on any instrument for which the range Recorder Guild in 1948-49, includes four variations on the of the part fits,” with as many players on each part as tune . In the first variation, the alto has the melody for eight desired, as long as the numbers on each part remain equal . measures, then trades it back and forth with the soprano . Part of the reason that such a degree of flexibility is Variation two pairs alto and tenor, then soprano and alto, possible is that Blaker writes here in a style with strong eventually scattering the melody among all four parts .The minimalist elements in which the play of pattern is very third and fourth variations explore other keys . Each part is much to the fore . Changes in harmonic and/or rhythmic equally interesting, with the top two lines playing the tune textures are the primary focus of the music and there is most of the time .This is the simpler of the two pieces . often an ostinato element, as in “Perotinian” and Sans Issue; Money Musk is an 18th-century strathspey reel (a slow or there is constant background rhythm, as in “Solagio” and Scottish dance with gliding steps in quadruple meter) . It “Haller,” the first two movements of Mutations . Blaker’s includes four variations on the melody .The first variation writing is very colorful—and, although this is sometimes alternates the tune between the second and third lines . In the result of dense harmonies or rhythmic complexity, the the second variation, the top line becomes a descant float­ overall effect is always engaging and approachable . ing over the rest .The hubbub of the third variation is inter­ Much early music takes its form from ostinati and rupted when all four parts have simultaneous eighth note varying textures . Blaker makes a connection to those earlier rests (m . 44 and 48), clarifying who has the tune .The final styles by basing the four movements of Mutations on music variation assigns the melody to the alto, then the soprano by, respectively, the Medieval composers Adam de la Halle, line repeats it a quarter note later, emphasizing the off Johannes Ciconia, Solage and Perotin (each of the last two beats .This is a challenging piece, especially for the soprano . being a composer whose first name remains unknown) . Both of these pieces are fun to play, with complex The influences will not be immediately obvious to those rhythms; they capture the essence of a fiddle band . Because unfamiliar with the original compositions, but they do of the complexities, they do not lend themselves to being inspire Blaker to four complementary moods, from the pulled out for an occasional sight-reading; players need to smoothly flowing “Haller” to the brief, brilliant “Ciconery ”. play precisely together . Each page is well-laid-out and easy Blaker adapted “Perotinian” for recorder orchestra for to read on a heavy ivory-colored paper . the 2007 Port Townsend Early (WA) Music Work­shop . As Three other fiddle tune variations in this series were with the orchestral version of Sans Issue, the original four reviewed in the November 2007 AR . parts are amplified by doublings and thickened by reinforc­ Bruce Calvin started playing recorder in college some ing harmonies . In each case, the original effect is intensified unspecified years ago, and has reviewed videos and books for by the extra substance given to the sound and by the addi­ professional library publications over the years. He and four tional colors supplied by the viols and, in Sans Issue, by a others meet weekly in the Wash­ington, D.C., area to play keyboard part . recorders. The group enjoys Renaissance through con­temporary Sans Issue is dedicated to a friend of Blaker’s who plays music, performing occasionally for special church events. string bass, hence the inclusion of that instrument in some­ thing of a solo capacity .The piece is rather orchestral in its MUTATIONS and PEROTINIAN (version for effect, even in its original chamber form, which includes orchestra), by Frances Blaker. LIT024, 2011 . contrasts of solo and tutti, blocks of duple and triple figura­ Mutations ATBgB; Perotinian SAAATTBgB, opt . viols . tion (reinforced initially by a change from arco to pizzicato Sc 11 pp, pts 4 pp . $22 . in the bass), and sudden silences . SANS ISSUE, by Frances Blaker. LIT027 Most of this music would make a challenge for an (orch . pts LIT028), 2012 . S/S’oAT, double (string) bass, or upper intermediate ensemble .“Haller,” though, is particu­

36 Spring 2015 American Recorder larly approachable and would be quite the second was at her memorial in At the halfway point, the bass manageable for a lower intermediate September 2013 . For the Festival, rests for the first time, for four mea­ ensemble .“Solagio” and “Ciconery” I played the hauntingly beautiful sures, to contemplate its next move; will demand the most care, due to soprano line; and for her memorial, the inner alto and tenor parts gently their many accidentals, quick pace, I played the determined, tireless attend to the ever-present eighth and somewhat tricky rhythms . bass line . notes .There is a moment of repose Despite these difficulties, the Playing each one was incredibly where the three lower voices drop out music always shows great understand­ moving . It was a remarkably reward­ for one measure, leaving the soprano ing of the recorder .The two orchestral ing opportunity to play different parts exposed on a low E—then everyone pieces would be rewarding to play at and experience how each of them fit has a new spurt of energy before chapter meetings, especially if the full into the weave . I highly encourage any winding down briefly in order to instrumentation were available .The ensemble members who play this do it all over again! printed presentation in both editions piece to learn more than one part . Each part has its own set of is attractive and accurate . Those who have played Blaker’s rhythmical and technical challenges— Blaker has shown herself to be compositions will recognize some vin­ especially the bass, which uses almost a composer of style and imagination . tage traits: recurring figures that give a the full range of the instrument . One often feels that these pieces could strength of resolve, intriguing synco­ Ensemble skills are in demand with go on even longer without wearing pations, piercing dissonances when the special attention to intonation and out their welcome, and new works melody is at its most lyrical, and con­ fluidity of the musical intent . It is a from her pen are eagerly anticipated . cise, compact writing . Blaker does not truly beautiful single movement con­ Scott Paterson, a former ARS Board mince words or notes . She gets right temporary work—filled with layers member, teaches recorder and Baroque to the point with Un Morceau de and emotions—that merits being flute in the Toronto (ON) area, where Jeanne, capturing Lynch’s vigor, vitality pondered and played over and over . he is a freelance performer. He has writ- and unflagging energy in the bass line, As with all Lost in Time publica­ ten on music for various publications for which starts alone and continues its tions, the score and parts are beauti­ over 25 years, and now maintains his driving repetitive eighth-note figure fully laid-out and tastefully printed on own studio after over 30 years at the throughout the entire piece . ivory-colored paper . Measure numbers Royal Conservatory of Music The tenor eases in with a perme­ are blissfully large and legible for facil­ of Toronto. ating and heartfelt melody that starts itating rehearsals .This piece is best for on a weak-beat syncopation and upper-intermediate players . UN MORCEAU DE JEANNE melodically becomes ever more pres­ Vicki Boeckman was introduced (for Jeanne Lynch), by ent, creating a lovely duet with the to the recorder while studying flute at Frances Blaker. LIT029, 2013 . bass for 20 measures . Blaker then bril­ California State University, Northridge. SATB . Sc 5 pp, pts 2 pp ea . $15 . liantly enhances this idea by having She studied and taught recorder at the In her introduction Blaker has the soprano and alto parts join in at Royal Danish Academy of Music; in this to say:“ In writing music for a the octave with the tenor and bass . 2004 she relocated to Seattle, WA, where specific person, . . I write about the The alto and bass continue their she continues to teach, perform and serve traits I admire, acknowledge the path upward driving eighth notes while as music director of the Portland (OR) of life, try to evoke the spirit of that the soprano soars above the ensemble Recorder Society. person ”. In her unique and uncanny with the melody . way, Blaker has masterfully captured the late Jeanne Lynch’s spirit and translated it into music . I had the privilege of performing this piece at two important events that honored Lynch, former ARS Board member and recorder advocate who worked tirelessly on the logistics for the 2012 ARS Festival in Portland, OR (for more about Lynch, see the Winter 2013 AR) .The first time I played it was at the ARS Festival, and

www.AmericanRecorder.org Spring 2015 37 DENNIS’ FOLLY, by Harold Thirds in Play is altogether lighter over 150 instrumental pieces were Owen. PRB Productions Contem­­- in tone, though no less well-crafted . It composed on this theme, mostly viol po­rary Instrumental Series CI031 is in a single movement lasting about fantasias and keyboard pieces .There (www.prbmusic.com), 2012 . 3-1/2 minutes and centers around the are a fair number of recent pieces based A/fl, hc/pf . Sc 16 pp, pt 7 pp . $12 . contrast between two figures—one on the theme as well, often commis­ THIRDS IN PLAY, by Harold quick and syncopated, the other sioned by viol consorts like Fretwork . Owen . PRB Productions Con- broader and more sustained . Once One reason the “In Nomine” hasn’t tempo­rary Consort Series CC076 again, Owen’s lively imagination and been more popular for recorders lies in (www.prbmusic.com), 2012 . SATB . ear for texture are fully in evidence . its usual construction: one voice, usually Sc 4 pp, pts 2 pp ea . $12 . The piece is at an upper intermedi- the alto, plays the entire cantus firmus Harold Owen is professor emeri­ ate level and will particularly reward in long notes, forming the basis of the tus and former department chair of precise ensemble playing . harmony for what are frequently elabo­ composition at the University of Although there are some small rately contrapuntal pieces .The breath Oregon, where he also directs the col­ discrepancies between the score and just isn’t suited to producing this sus­ legium musicum . He has been involved part in Dennis’ Folly, they are easily tained, continuous progression through with early music since the 1960s, as a resolved .The general presentation in 55 or so measures . Owen solves this performer in the faculty consort and in both works is thoughtful and attractive . problem by using the theme as a quick, the touring John Biggs Consort . Scott Paterson almost jazzy melody rather than a har­ Over his career, he has composed monic motive except in the fantasia’s for a wide variety of groups, both large IN NOMINE FANTASIA, by second section (mm . 18-40) .There the and small, and is the author of several Harold Owen. PRB Productions chant is played by the tenor viol in half books on composition (including a very Contempo­rary Consort Series CC062 notes, with a filigree of arpeggios and widely used textbook, Modal and Tonal (www.prbmusic.com), 2008 . SATB recs, scales from the other parts . Coun­ter­point from Josquin to Stravinsky, TB viols . Sc . 5 pp, pts 1 p ea . $12 . In the other sections, the theme now in its 7th edition, Schirmer A THOM TALLIS FANCY, by is usually played in octave doublings— Books) . Both of these pieces for Anthony St. Pierre . Polyphonic soprano-tenor or alto-bass, or, in one recorder demonstrate a good under­ Publications 178 (www.magnamusic. case, alto recorder-tenor viol, and in standing of the instrument and show com), 2007 . A (S’o) T . 2 scs 2 pp ea . another the two viols in octaves . Mean­ an especially colorful use of articulation $10 . while, the remaining voices may also be and scoring . Owen’s style is dissonant Harold Owen’s In Nomine playing a counter theme in octave dou­ with a great deal of chromatic altera­ Fantasia is one of a number of pieces blings .Thus the harmony is frequently tion, but with a strong tonal basis . written for the 150th anniversary of three- or four-part (almost never six- Despite the whimsical title, St . Mary’s Episcopal Parish in Eugene, part) but the sound is richly resonant . Dennis’ Folly is in effect a substantial OR, where Owen is organist and The piece begins “Allegro” ( =108), q 11-minute sonata in three movements choirmaster .Three of the pieces are for slows to a more relaxed “Tranquillo e (“Lively,” “Tranquillo” and “Jocund”) . recorder quartet (SATB), and a Prelude legato” ( =96) between measures 72-90 q Owen explains in a short introductory and the “In Nomine” additionally use and accelerates back to the beginning note that he thinks of the piece as tenor and bass viols . One might guess tempo for the last 20 bars, ending with being neo-Baroque in style, which is that the church’s music program has a rapid flourish taking all the instru­ most evident perhaps in its general these players available, and that Owen ments to a unison staccato eighth-note clarity of texture, as well as in the fact (who does play recorder) wanted them D, from the highest on the soprano that the last movement has something included among the celebrants of his recorder to lowest on the bass viol . of the feeling of a gigue . parish’s sesquicentennial . The group with which I read it Overall, however, the piece is quite Notes provided by the composer, found it pleasant to play and listen to: contemporary in character, with fre­ give the necessary information about it’s within easy reach of an upper-inter­ quent complexities of rhythm and the “In Nomine” cantus firmus: the mediate consort that is willing to work meter and substantial demands on the Sarum rite antiphon “Gloria tibi Trini­ on getting the unison octaves exactly players’ ensemble skills, making it most tas” was used by John Taverner (c 1490. - synchronized and in tune . We played appropriate for advanced players .The 1545) as the basis of a mass of that it in a living room, but felt that, given effort is worth it, though, and the result name .The “In Nomine” theme is from the high tessitura at several points, a is a piece with great presence and fre­ the part of the Benedictus beginning church or larger hall would be a better quent charm, especially in the second “In the name of the Lord ”. Owen notes venue . Octave doubling by nature movement with its waltz episode . that in the 16th and 17th centuries amplifies the sound, in any case . 38 Spring 2015 American Recorder In Nomine Fantasia is beautifully half-step lower (mostly) for the closing Each duo is a bit harder printed by PRB, and contains only one measures of the theme, but reverting to real anomaly that I could see: an out- its original mode in the final notes . than the previous, hence of-range whole-note low E for the alto In some respects playful, A Thom the “gently graded” (m . 90) . Since this note is also played Tallis Fancy nevertheless retains the description in the title. by the bass recorder, one can only serious character of its inspiration, and imagine that the voice-leading dis­ could be used as a church prelude or OF TIMES PAST: SUITE OF suaded Owen from exchanging notes interlude (at just over two minutes, it SEVEN GENTLY GRADED between the tenor and alto, as the barely doffs a cap at Vaughan Wil­ RECORDER DUOS, by interval is the open fourth E-A in liams’s quarter-hour extravaganza) . Nicholas Wynne . Nicholas all parts . Players, however, may wish Easily in reach of intermediate players, Wynne Sheet Music Publications to consider some trading . it will challenge their breath control to (www.nicholas-wynne.co.uk), 2009 . In contrast to the full sound keep the long notes steady, rhythms AA . 2 sc, 10 pp ea . Abt . $11 70. . of Owen’s piece, Anthony St . Pierre’s perfectly matched, and everything in Nicholas Wynne, who lives in A Thom Tallis Fancy is fun for two play­ exact tune—essential for the piece’s Notts, UK, describes himself on his ers just reading companionably— success . In a small room, my compan­ web site: “I studied piano and composi­ meditating, perhaps, as much on ion and I found that keeping the alto tion at Trinity College, London in the Ralph Vaughan Williams’s orchestral on top throughout—rather than using 1970s . I was encouraged in my compo­ Fantasia on a Theme by Thomas Tallis sopranino—was quite satisfactory . sition by Sir John Tave[r]ner . My love as on the Tallis hymn itself . The review copy is printed on sep­ of pianos led me to build up my own Thomas Tallis (c 1505. -85) origi­ arate sheets of 8½” x 11” paper, rather piano restoration business (the day job) nally composed the Phrygian-mode than one 11”x17”, which is a nuisance . while teaching piano in the evenings . tune in 1567 for a metrical psalter There are no notes on the composer The day job was finally relinquished compiled by the Archbishop of (a frequent reviewer in these pages and in favour of more composing time ”. Canterbury (the text is from Psalm 2) . a prolific composer for recorders) or These seven duets, composed and Vaughan Williams’s 1910 setting the piece . Both would be welcome . self-published by Wynne, each offer of the melody for string orchestra has Suzanne Ferguson is active as an distinct challenges for two alto recorder become one of the best known orches­ early musician in Ft. Myers, FL. She players . Each duo is a bit harder than tral works of the 20th century, featured served on the ARS Board in the 1980s the previous, hence the “gently graded” in a number of films and (according to and is past president of the Viola da description in the title . At the end of http://en.wikipedia.org/wiki/Fantasia_ Gamba Society of America. the first three (“Praeludium,” “Grave,” on_a_Theme_by_Thomas_Tallis) voted “Gavotte”), he suggests that the stu­ into third place in 2014 by listeners of PASSACAGLIA, by Harold dents switch parts and repeat .“Prae­ the UK’s Classic FM “Hall of Fame,” Owen. PRB Productions Con­ ludium” and “Grave” are the easiest and an annual poll of the most popular temporary Consort Series CC059 offer beginning alto players a chance classical music works . Some may (www.prbmusic.com), 2008 . SATB . to learn to play with another person . also know it as a hymn to the words, Sc 5 pp, pts 1 p ea . $10 . “Gavotte” and “Hornpipe” empha­ I Heard the Voice of Jesus Say, which Among various historical key­ size accidentals .“Pastorale” is in 6/8 Vaughan Williams set prior to com­ board and wind instruments, Harold time with 16th-note rests thrown into posing his fantasia . Owen plays the recorder; this short the rhythmic patterns .“Crye” explores St . Pierre’s setting is in three sec­ passacaglia is written idiomatically wide intervals, as well as the upper tions, with the theme in the alto in the and carefully for the instrument . ranges, but also has a three-measure first, passed to the tenor in the second, Owen notes that, unlike some ossia if the upper register is too much . moving at a stately pace between 4/4 Baroque and later examples, his “Brawl” uses many perfect inter­ and 3/4 with frequent quarter-note work is “intentionally light-hearted, vals as well as a brief dissonant passage triplets . In the final section, the alto in keeping with the early dance-like near the end, concluding on a conso­ player takes the sopranino, and the passacaglias of the Baroque ”. nance . It also uses changing time sig­ rhythm changes to a brisk 6/8 and The language is traditional in natures and lots of accidentals . begins with doubling at the second orientation, and the technical demands At the web site, you may purchase octave . are slight; it could be played by student a hard copy or a PDF version of the The conclusion comprises a loose groups . As is their wont, PRB’s editions music . You can also listen to a synthe­ canon for the rest of the tune, ending are well-engraved and easy to read . sized performance of all seven duos with a brief, surprising shift into flats a Carson Cooman (before purchasing ). I think these www.AmericanRecorder.org Spring 2015 39 duets would be a good addition to a The top part has mild scale and arpeg­ enjoyed these Eccles works and found recorder teacher’s library . gio work, but the bottom part doesn’t them to be delightfully contemporary, Valerie Hess —it is my opinion that the bottom part but much less dissonant than some of is significantly easier to play .The piece his other works that we have played . ON THE PAVEMENT, by Lance as a whole reflects its title: the constant Shannon Groskreutz began recorder Eccles. Orpheus Music OMP228 motion of pigeons when they mingle as a young child and attended the chil- (www.orpheusmusic.com.au), 2010 . with people, hoping for a handout . dren’s program at Indiana University. She AA . 2 scs 5 pp ea . $17 78. publ ,. The second piece, “Leaves,” is a is a Lecturer in Music Theory at Stetson $14 23. as PDF . lyrical one-page Andante in G minor . University, and is also coordinator of select On the Pavement contains four There are some lovely descending music theory and aural training courses. mildly contemporary duets; the two whole-tone scales played simultane­ A Ph.D. candidate in Music Theory at altos are active in all four of them .The ously in both recorder parts, a major Florida State Uni­ver­sity (FSU), she was duets use contemporary idioms, but third apart, quite a musical picture of also a teaching assistant and fulfilled the they are not extraordinarily dissonant . falling leaves .The top part has one requirements for FSU’s College Teach­ing In the lively first piece, “Pigeons,” two-octave jump between fourth- Certificate, to be awarded with her Ph.D. the two alto recorders, when heard ledger-line G and G on the second She previously earned two Master’s together, sound like a perpetual motion . line on the staff . degrees in Music Theory and Oboe There is a total of five quarter rests in The third piece, also only one page Performance from FSU, and a Bachelor’s the score, never in both parts simulta­ long, is called “Wind ”. If you plan to degree in Oboe Perform­ance from DePaul neously .This piece has no key signa­ play this, start practicing chromatic University in Chicago, IL. ture, starting and ending in C major, scales now .The runs are mostly chro­ Consider advertising in but it travels freely into other key areas matic with a whole step here and there, without any key signature changes; to keep you awake . Near the end, there know your accidentals! is a striking passage of tritones—in the For current rates and specifications, see It is printed without any articula­ top part, then passed to the lower part . www.americanrecorder.org/pubs/adver.htm. tion guidelines, but we experimented Another characteristic motive of this Please inquire about discounts on multiple- issue contracts or other special requests. with various articulations other than piece is the ascending minor seventh . Advertising subject to acceptance by straight single and double tonguing— The final piece, called “Rain,” is magazine. Reservation Deadlines: January 1 (Spring), April 1 (Summer), particularly slurring a figure that dips more of a playful rhythmic showpiece; July 1 (Fall), October 1 (Winter). to the lower neighbor tone and back it uses much less chromaticism than For more information, contact the ARS office, (there are lots of these in both parts) . the first three pieces . As in “Wind,” 10000 Watson Rd., Ste. 1L7, Saint Louis, MO Classified rate for American Recorder: 60¢ per 63126; 800-491-9588 toll free; 314-966-4082 “Rain” also has a section of tritones phone; 866-773-1538 fax; word, 10-word minimum. “FOR SALE” and [email protected] “WANTED” may be included in the copy rhythmically interwoven into the two without counting. Zip code is one word; parts . As the title might imply, this Advertiser Index phone, e-mail or web page is two. Payment piece is also suggests perpetual motion must accompany copy. Deadlines are AMERICAN ORFF-SCHULWERK ASSN...... 12 one month before issue date. Send copy when the parts are combined . AMERICAN RECORDER SOCIETY ...... 1, 31, 32, 40 with payment to: ARS, 10000 Watson Rd., On the Pavement is definitely a AMHERST EARLY MUSIC WORKSHOP...... 18 Ste. 1L7, Saint Louis, MO 63126. BEATIN’ PATH PUBLICATIONS...... 37 set for advanced intermediates . We STEPHAN BLEZINGER RECORDER WORKSHOP...... 28 DIE BLOCKFLÖTE RECORDER CENTRE...... 3 American Recorder (ISSN: 0003-0724), 10000 Watson Rd., Ste. 1L7, Saint Louis, MO 63126, BOSTON EARLY MUSIC FESTIVAL ...... 8 is published quarterly for its members by the American Recorder Society, Inc. $36 of the annual $45 JEAN-LUC BOUDREAU, RECORDER MAKER. . . . . 33, IBC U.S. membership dues in the ARS is for a subscription to American Recorder. Articles, reviews and EARLY MUSIC AMERICA...... 12 letters to the editor reflect the viewpoint of their individual authors. Their appearance in this magazine HONEYSUCKLE MUSIC ...... 28 does not imply official endorsement by the ARS. 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Books and Music for review: Sue Groskreutz, 1949 West Court St., THE RECORDER SHOP...... 14 Kankakee, IL 60901. Recordings for review: Tom Bickley, 1811 Stuart St., Berkeley, CA 94703. RECORDERSTANDS.COM...... 16 Cutting Edge: Editorial office. Chapter newsletters, other reports: Editorial office. The ARS reserves RHYTHM BAND/AULOS...... IBC the right to publish any submitted magazine content on the ARS web site. By submitting material to SAN FRANCISCO EARLY MUSIC SOC. WORKSHOPS. 22 be published in a printed issue of AR, American Recorder’s editors and authors grant the America GLEN SHANNON MUSIC ...... 33 Recorder Society permission to use their material in this additional manner. Postmaster: Send address TEXAS TOOT...... 14 changes to ARS, 10000 Watson Rd., Ste. 1L7, Saint Louis, MO 63126. Periodicals postage paid at VERY GOOD RECORDER TRANSCR...... 30, 34 St. Louis, MO, and at an additional mailing office. VON HUENE WORKSHOP, INC...... 25

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