Published by the American Recorder Society, Vol. XLIV, No. 5 november 2003 A Flanders Recorder Quartet Guide for Recorder Players and Teachers
BART SPANHOVE With a historical Chapter by DAVID LASOCKI
The purpose of this book is to help recorder players become better ensemble members. Bart Spanhove has written the book in response to numerous requests from both amateurs and professionals to set down some practical suggestions based on his own experience and thereby fill a long-felt gap in the literature Alamire Music Publishers about the recorder. Toekomstlaan 5B, BE-3910 Neerpelt Price: 22,06 Euro T. +32 11 610 510 Orders can be placed at F. +32 11 610 511 www.alamire.com [email protected]
EDITOR’S ______NOTE ______Volume XLIV, Number 5 November 2003
Death and music are no strangers. FEATURES Death is often found in operatic context— A Recorder Icon Interviewed ...... 8 the tragic ending in Giacomo Puccini’s A Talk with Anthony Rowland-Jones, Tosca when the title figure leaps to her by Sue Groskreutz death, and the stirring music composed by The Recorder in the Nineteenth Century...... 16 Richard Wagner for Siegfried’s funeral near by Douglas MacMillan the end of the four-part epic Ring cycle, af- 4 Arranging an Orchestral Work for Recorder Quintet . . . . 22 ter which Brunhilde flings herself on the The eleventh in a series of articles by composers and arrangers hero’s funeral pyre and sings for another discussing how they write and arrange music for recorder, 10 minutes or so. by Carolyn Peskin Death’s knock shows up in Tchaikovsky’s symphonies and, under- scoring the underlying sorrow of war, in DEPARTMENTS the theme song from M*A*S*H—titled Advertiser Index ...... 44 “Suicide is Painless,” in the movie version 8 it accompanies a mock suicide by the com- Chapters & Consorts ...... 36 pany’s dentist (nicknamed Painless). Classified ...... 44 In the cases above, it’s obvious that the Compact Disc Reviews ...... 41 act of death was not real, that it’s a dra- matic element incorporated into a musical Music Reviews...... 28 work. While I can’t say that death and mu- On the Cutting Edge...... 26 sic should be strangers, it’s still difficult to accept including a suicide as part of a real President’s Message ...... 3 12 musical event—as in the “suicide concert” Opening Measures ...... 39 supposedly planned as a rock band’s way Q&A ...... 19 of granting a dying fan’s wish—which got ON THE COVER: Herman Henstenburgh Tidings ...... 4 me to thinking of this in the first place. Dutch, 1667–1726 Death figures prominently in a new Vanitas Still Life, c.1700 Annual Focus on Business Members, changes in address and date, The Metropolitan Museum of Metropolitan Museum of Art image re- Art, Purchase, Anonymous Gift, in memory of Frits Markus, and a recorder festival in Montréal, David Goldstein dies produced on this issue’s cover and also Frits and Rita Markus Fund, explained in symbolic terms (page 6). 2003, Photograph ©2003 The In recorder terms, was there life after Metropolitan Museum of Art 1750? Several shorter articles trace a few of its Classical, Romantic and even present- day developments—Douglas MacMil- GAIL NICKLESS, Editor lan’s article (page 16) outlines the Contributing Editors recorder in the 19th century, and Car- FRANCES BLAKER, Beginners; JOHN H. BURKHALTER III, Book Reviews olyn Peskin offers an arrangement of a THOMAS CIRTIN, Compact Disc Reviews;CONSTANCE M. PRIMUS, Music Reviews Beethoven contradanse (page 22) as well CAROLYN PESKIN, Q & A; TIMOTHY BROEGE, 20th-Century Performance as answers to questions about modern-era LISA SCHMIDT, Design Consultant recorders (page 19). Advisory Board If you’re a little shaky on vibrato, see Martha Bixler • Valerie Horst • David Lasocki this issue’s Opening Measures column by Bob Marvin • Howard Schott • Thomas Prescott • Catherine Turocy Frances Blaker (page 39), in which she Kenneth Wollitz gives exercises to help you become rock Copyright © 2003 American Recorder Society, Inc. solid in your use of recorder vibrato. AR On-Line Happily, full of life is the subject of an Visit at
ALABAMA ILLINOIS Long Island: Margaret H. Brown Birmingham: Ken Kirby Chicago: Kim Katulka (708-484-4578) (516-765-1867) (205-822-6252) Chicago-West Suburban: New York City: Michael Zumoff ARIZONA Christopher Culp (630-690-7304) (212-662-2946) AMERICAN Rochester: Frank Amato Phoenix: Donald Harrington LOUISIANA (602-956-1344) (716-225-6808) Baton Rouge: John Waite RECORDER Tucson: Scott Mason (520-721-0846) Rockland: Lorraine Schiller (225-925-0502) (845-429-8340) ARKANSAS SOCIETY New Orleans: Chris Alderman Westchester: Carol B. Leibman Aeolus Konsort: Don Wold INC (504-862-0969) (914-241-3381) . (501-666-2787) Honorary President Bella Vista: Barbara McCoy MARYLAND NORTH CAROLINA ERICH KATZ (1900-1973) (479-855-6477) Northern Maryland: Dawn Culbertson Triangle: Cindy Osborne Honorary Vice President CALIFORNIA (410-235-2354) (919-851-1080) WINIFRED JAEGER Central Coast: MASSACHUSETTS OHIO Statement of Purpose Margery Seid (805-474-8538) Boston: Laura Conrad (617-661-8097) East Bay: Kathy Cochran Greater Cleveland: Edith Yerger The mission of the American Recorder Society is Recorders/Early Music Metro-West (440-826-0716) (510-483-8675) Boston: Sheila Beardslee to promote the recorder and its music by Monterey Bay: Sandy Ferguson Toledo: Marilyn Perlmutter developing resources and standards to help (831-462-0286) (978-263-9926) (419-531-6259) people of all ages and ability levels to play and North Coast: Kathleen Kinkela-Love Worcester Hills: Madeline Browning OREGON study the recorder, presenting the instrument (707-822-8835) (508-842-5490) Oregon Coast: Corlu Collier to new constituencies, encouraging increased Orange County: Doris Leffingwell MICHIGAN (541-265-5910) career opportunities for professional recorder (949-494-9675) Sacramento: Robert Foster Ann Arbor: David Goings PENNSYLVANIA performers and teachers, and enabling and (916-391-7520) or (734-663-6247) supporting recorder playing as a shared Elsa Morrison (916-929-6001) Kalamazoo: Wade Lawrence Philadelphia: Dody Magaziner social experience. Besides this journal, San Diego County: Richard Chang (269-353-9885) (215-886-2241) or ARS publishes a newsletter, a personal study (760-726-8699) Metropolitan Detroit: Joanne Ford (215-844-8054) program, a directory, and special musical San Francisco: Florence Kress Claudia Novitzsky (248-548-5668) Pittsburgh: Helen Thornton editions. Society members gather and play (415-731-9709) Northwinds Recorder Society: (412-781-6321) South Bay: Joanna Woodrow together at chapter meetings, weekend and Janet Smith (231-347-1056) RHODE ISLAND summer workshops, and many ARS-sponsored (408-266-3993) Western Michigan: Marilyn Idsinga Southern California: Lynne Snead Rhode Island: David Bojar (231-394-3915) events throughout the year. In 2000, the (661-254-7922) (401-944-3395) Society entered its seventh decade of COLORADO MINNESOTA TENNESSEE service to its constituents. Twin Cities: Jean Fagerstrom Boulder: Rose Marie Terada Greater Knoxville: Ann Stierli (612-722-4967) Board of Directors (303-666-4307) (865-637-6179) Alan Karass, President Colorado Springs: Jeanne LeClercq MISSOURI Nashville: Janet Epstein (719-473-0714) Carolyn Peskin, Vice President; St. Louis: Norm Stoecker (615-297-2546) Chair, Scholarship; Co-Chair, Education Denver: Anne Chetham-Strode (303-422-6677) (636-532-3255) TEXAS Marilyn Perlmutter, Secretary Fort Collins: Roselyn Dailey Ann Stickney, Treasurer; Chair, Finance NEVADA Austin: Susan Page (512-467-7520) (970-282-1097) Dallas: Bill Patterson (214-696-4892) John Nelson, Asst. Secretary; Chair, Publications Sierra Early Music Society: Rio Grande: Joyce Henry Kathy Sherrick, Asst. Treasurer; CONNECTICUT Karlene Dickey (775-832-9124) (505-522-4178) Chair, Fund-raising Connecticut: Dorothy Vining NEW HAMPSHIRE (203-267-6513) VERMONT Rebecca Arkenberg Eastern Connecticut: Joyce Goldberg Monadnock: Barbara George Frances Blaker, Chair, (860-442-8490) (802-257-1467) Upper Valley: Barbara Prescott Special Events/Professional Outreach Upper Valley: Barbara Prescott (603-643-6442) DISTRICT OF COLUMBIA Richard Carbone, Chair, Chapters & Consorts (603-643-6442) Washington: Myrl Powell VIRGINIA Kathryn Cochran (301-587-4799) or NEW JERSEY Northern Virginia: Edward Friedler Sheila M. Fernekes, Co-Chair, Education Jane Takeuchi Udelson Bergen County: Mary Comins (703-425-1324) Sue Roessel, Chair, Membership (703-369-3022) (201-489-5695) WASHINGTON Navesink: Lori Goldschmidt DELAWARE Moss Bay: Gerrity Shupe (732-922-2750) Brandywine: Roger Matsumoto (425-820-2003) Priscilla Winslow, Counsel Princeton: Janice Arrowsmith (302-731-1430) Seattle: Belinda Frazier (609-883-9874) Staff FLORIDA (206-522-7342) Brock Erickson, Executive Director Somerset Hills: Keith Bernstein Gainesville: Russell D. Moore WISCONSIN P. O. Box 631 (352-378-0567) (908-722-6572) Milwaukee: Diane Kuntzelman Littleton, CO 80160-0631 U.S.A. Miami: Zulema Garraffo NEW MEXICO (305-374-1879) (414-654-6685) 303-347-1120 Albuquerque: Lois Ario Sarasota: Valerie Sizemore Southern Wisconsin: Margaret Asquith Faxes & membership questions: (505-881-1303) (941-484-9589) (608-233-4441) 303-347-1181 or Rio Grande: Joyce Henry GEORGIA
6 American Recorder PRESIDENT’S ______MESSAGE ______An ARS State of the Union Address
ach year, as part of the September scholarships, services for professional Additionally, the EBoard meeting, the ARS holds its An- recorder players, educational programs, ARS received an NEA nual Meeting (see photo below of this year’s outreach to related organizations, and pro- grant of $5,000 in Annual Meeting). This is an opportunity for grams for youth and seniors. 2001 to help fund the local recorder players to meet with the Along with these projects, numerous production of John Board, have dinner together, play some fund-raising incentives were planned and Tyson’s “Recorder music, and ask the Board questions. implemented. The A.R.S. Nova fund-rais- Power” video. This video is now available These questions sometimes include, ing campaign generated $38,511 with 263 and can be borrowed from the ARS office; “What are the current projects that the generous donors contributing between a small refundable deposit is required. Board and the committees are working January 1998 and December 2002. You might ask, “What’s next?” The on?,” “How many members does ARS cur- Board has seriously reviewed the objec- rently have?,” “How are articles selected ...like with every tives, goals, and projects of the long-range for American Recorder?,” and “How can I other vital organization, plan, and is whole-heartedly committed get music published as part of the Mem- to its fundamental vision of “enriching in- ber’s Library?” This is a wonderful oppor- our course must be dividual and community life through the tunity for members to learn more about periodically adjusted music of the recorder.” This year, each how the organization works, and for the to reflect the reality of ARS committee has been asked to write a Board to interact directly with members. three-year plan to outline their activities At last year’s Annual Meeting someone the times in which we live, and projects. Many of these were includ- asked about the status of A.R.S. Nova as well as the needs of ed in the A.R.S. Nova plan; some have 2000. Since we have not recently pub- our members. been modified to reflect the current eco- lished news about the plan, I thought it nomic and technological state of affairs. was time to write about it in my column— Some of these donations were ear- Here is a sampling of our current proj- a sort of ARS “State of the Union Address.” marked for the start-up costs of the A.R.S. ects: planning the production of a new in- The Board initiated the A.R.S. Nova Nova plan. At its January 2003 meeting, structional video; updating the ARS web long-range plan in the late 1990s. After the Board assessed all donations and any site; publishing a consort handbook; ex- working with a consultant, the Board real- restrictions placed on them. A sum of ploring options for an ARS conference; es- ized that such an initiative was necessary $4,307 was determined to be restricted; it tablishing a process for soliciting project- for promoting the ARS, planning future ac- will remain in the A.R.S. Nova fund as in- based grants; designing a composition tivities, and ensuring the financial health terest-earning principal for projects specif- contest; reformatting and redesigning Ju- of the organization. The plan was formal- ically outlined in the long-range plan. The nior Recorder Society materials; and en- ized and adopted in 1999. Many projects remainder was transferred to the ARS Cap- hancing our communication with profes- were outlined: video and CD production ital Fund, which serves as the organiza- sionals and chapters around the country. and distribution, music publication, tion’s reserve fund. The spirit of the A.R.S. Nova 2000 long-range plan is still alive and well, and many of its projects are being pursued. Our goals and objectives remain the same, but the Board has taken a long, hard look at what can be realistically achieved with available resources—and, like with every other vital organization, our course must be periodically adjusted to reflect the reality of the times in which we live, as well as the needs of our members. As always, if you have any questions or comments on the campaign, or other ARS issues, I welcome them at
November 2003 7 ______TIDINGS ______Report on recorder festival in Montréal, students perform Libby Larson work, annual Focus on Business Members Montréal’s Celebration of the Recorder O, Montreal, and particularly Matthias by Frances Feldon, a teacher and per- Also on the program were two Maute and Sophie Larivière, how beautifully former from Berkeley, CA. She led about Telemann cantatas, “Seele leme dich you celebrate the recorder in all its manifes- 50 enthusiastic amateurs in her own erkennen” and “Ertrage nur das Joch der tations—its virtuosic wonders to its amiable arrangements of Gershwin’s Rhapsody Mangel.” role as a consort instrument. in Blue, I Got Rhythm, and Ms. Mauch’s voice was featured, in a From September 18-21, during Les S’Wonderul. All of these pieces worked particularly unusual way, in the one piece Journées de la flûte à bec, Montréal felt well in the usual SATB configuration, with on the program not composed by Tele- like the center of the recorder world. Par- richness added by a few contra basses. mann. Maute’s Les Barricades is known to ticipants came from as far away as Nevada I think there was consensus that the many recorder players as an instrumental and New Mexico in the U.S., and Calgary Rhapsody in Blue was very special, in part piece for three recorders that challenges in Canada. Performers and lecturers were because of the solo by John West, the dexterity drawn not only from Quebec’s impressive a 16-year-old player from Minneapolis, with its rapid well of talent, but from The Netherlands, MN. Ms. Feldon also adroitly led us arpeggiated fig- Germany, and the U.S.From Maute’s wel- through Messiaen’s O Sacrum Convivium, ures, suggestive coming remarks at the opening session of arranged by Peter Seibert, a piece that is of falling water. the amateur workshop to the closing solo particularly challenging because it is con- Floating above concert given by Marion Verbruggen, the stantly changing time signature from 9/8 this was Ms. festival celebrated the community of all to 7/8 to 5/8, etc. Mauch’s clari- recorder players, from beginners to the Rounding out the work of Ms. Feldon’s on soprano most consummate professionals. atelier was the “Agnus dei’ from the 14th- voice, delicately Amateurs were reminded of this at our century Barcelona Mass, also her arrange- singing a final concert, given in McGill University’s ment. She did a masterful job of shaping German venerable Redpath Hall—“we are all in the group’s sound and working through chorale tune, Marion Verbruggen (left) this together”—performing and playing the tricky rhythmic idiosyncracies of the “Vater unser,” and Monica Mauch for the love of it. jazz pieces and the “Agnus dei.” off-stage. The effect created one of those The festival began with a workshop led After perfecting these and other pieces moments in which the audience sits over the next few days, we were part of the silently at the conclusion, unwilling to Marion Verbruggen warm-up act for Marion Verbruggen’s solo break the spell the music has created. in action during a concert on September 21.The other ama- The recorder consort Buxus (Femke master class teur group that played was Flutissimo of Bergsma, Francis Colpron, Gregoire Jeay, with John West Montréal, under the inspired direction of Larivière, Maute, and Natalie Michaud) (seated) Sophie Larivière. These 14 members of the played an eclectic program of Renaissance Montréal Recorder Society, who meet music by Monteverdi, Woodcock, Lassus bi-weekly, played an interesting program and Byrd, and also demonstrated the in- that included Renaissance and 20th-cen- strument’s versatility in contemporary tury music. Their ensemble skills reflected music—Paul Leenhouts’ Tango für Elise, their hard work and good musicianship. Dizzy Gillespie’s Night in Tunisia, Maute’s At the festival’s center were astounding Les Fleurs Dissipées, and world premieres performances by Ensemble Caprice and of Aru by Gerhard Braun and Blues I by the recorder consort Buxus, both of Mon- Quebec composer Vincent Beaulne. The tréal. Ensemble Caprice (Maute and Ms. performance also marked the premiere of Larivière, recorder and traverso, Susie their new recorders made by Bob Marvin, Napper, ’cello, Olivier Fortin, harpsi- to whom the concert was dedicated. chord), joined by German soprano Moni- Marion Verbruggen capped off the ca Mauch and Dutch recorder virtuoso festival with an impressive solo concert in Marion Verbruggen. They performed which she played Bach’s ’Cello Suite No. 5 several quartets and trios, of which several transcribed for recorder, selections from were arranged from their original violin Van Eyck’s Der Fluyten Lust-hof, and two settings for recorders by Maute. continued on page 38
8 American Recorder EMA Announces ARS at Amherst 2003 Winners in Recording The ARS had a notable presence at the Amherst Early Music Festival last Competition with Naxos summer, through scholarships awarded Early Music America (EMA) and Nax- to four students, an ARS-sponsored os of America have announced the win- play-in, and a booth at the exhibition. ners in the recording competition that Marilyn Perlmutter and Rebecca took place last spring. The winners were Arkenberg organized an ARS play-in, selected by Klaus Heymann and his col- advertising it throughout the dorms and leagues at Naxos from a group of seven fi- classroom areas with colorful posters. nalists previously announced by EMA. At Amherst: Nancy Cochran, teacher Letitia Berlin led the play-in, which Winners of the competition, for early Geert van Gele, Peter Kwiatek, music soloists and ensembles, receive a Norman Rosenberg, Rebecca lasted a little over an hour on a Sunday debut CD recording produced and mar- Arkenberg, and J.B. Price. afternoon, with 23 recorder players of all keted by Naxos. EMA and Naxos hope to (Photo by Robert Radway) ages and abilities participating by the promote the career development of early session’s end. Ms. Berlin chose works music performers and the philosophy of from the Spanish repertoire, ending with Tielman Susato dances, and masterfully historically-informed performance by of- worked with the new and experienced players fering to the public recordings of the ARS was represented by a booth at the exhibition, manned by Ms. Perlmutter, Sue highest quality. Both the Grand Prize Roessel, Ms. Arkenberg, and other volunteers. During the weekend many people Winner and the First Runner Up will be stopped by to visit, look over the materials, and talk about recorders—some also recorded by Naxos. joining or purchasing ARS pins. The First Runner Up in the compe- tition is Ciaramella (Adam and Rotem Recorderist Cléa Galhano will give her debut Gilbert, Douglas Milliken, Debra recital on January 19 at Wigmore Hall, London, Nagy, shawms and recorders; Greg In- England, with harpsichordist Rosana Lanzelotte; gles, sackbut; Anna Levenstein and Gail the duo continues to Rome, Italy, for another con- West, sopranos). Ciaramella is a Renais- cert. FLAME, an organization assisting artists from sance wind band specializing in music of Latin America, will sponsor the tour, along with the the 15th century. Naxos will record their Schubert Club of St. Paul, MN, and others. program, “Were I a Falcon I would soar This tour follows a successful one last summer on high,” with music from three sources with Belladonna Baroque Quartet. After their per- from the Austrian courts of Sigismund of formance at the prestigious early music festival Tyrol and the Emperor Maximilian I. Tage Alter Musik in Regensburg, Germany, a re- The Grand Prize Winner is the Cata- view in the Mittelbayerische ended: “The very highlight of the evening was created by coustic Consort (Annalisa Pappano, Cléa Galhano and Barbara Weiss in Marin Marais’ Folie d’Espagne. Here they made great gamba/lirone/artistic director; Catherine music with smooth timbre, intricate ornaments, and with an obvious joy of playing.” Webster, soprano; Michael Leopold, the- orbo; Becky Baxter, triple harp). Based in Iowa Recorder Students perform on Family Concert Cincinnati, OH, the ensemble performs Last February, recorder students of Irmi Miller’s Recorder Studio in Ames, IA, par- music from 1500-1750. ticipated in a performance of Libby Larsen’s Song-Dances to the Light. The American Honorable Mention went to Lucas Orff Schulwerk Association commissioned this piece from the composer in 1995 on Harris, lute/theorbo, a freelance contin- the occasion of Carl Orff’s 100th birthday. It combines an orchestra with a children’s uo player in the U.S. and Canada who re- choir, xylophones, glockenspiels and recorders. sides in Boston. MA. Ten recorder players, playing SAT recorders, were guided by Miller through several rehearsals and the final performance. The Central Iowa Symphony, led by Mark Lay- As this issue was cock, played a selection of music under the theme “Tales and Scales” for a “Family Con- being prepared, cert.” It traditionally involves elementary students of Ames in the Honors Choir and news was also features artwork displayed in the auditorium. received that Students play during the composer/arranger performance of Libby David Goldstein Larsen’s Song-Dances to had died. A recent the Light. First row (l to r): recipient of the ARS Ed Kraus, Sabina Presidential Special Miller, Patrick Jasper; Honor Award, Goldstein’s accom- second row: teacher Irmi plishments were summarized in the Miller, Rebecca Miller, September 2003 AR. Memorial let- Kim Wipf; ters will be published in a future last row (partly visible): issue of AR, along with information Yeon Soo Kim. (Photo by about a fund set up in his memory. Ma’ayan Shoshona)
November 2003 9 TIDINGS (cont.) Bits & Pieces
The Yamaha Corporation of Ameri- ca has moved to 6600 Orangethorpe Ave., NEW IMAGE GRACES COVER OF THIS ISSUE Buena Park, CA 90620. A human skull rests on the Cal Performances has announced the edge of a table or pedestal, suspension of the Berkeley Festival & crowned by a garland of Exhibition in 2004. In its place, Early flowers. In the background a Music America will host a conference trail of smoke rises from the and exhibition June 10-12 in Berkeley, snuffed wick of a candle CA (locations TBA). Details of the confer- stub, and an hourglass lies ence, which will engage the theme on its side. A leg bone ex- “The Future of Early Music in America,” tends into the foreground, will be announced. its diagonal line continuing The Amherst Early Music Festival on the opposite side of the will move to Bennington College in Ben- skull by the beak of an ivory nington, VT. The event had been held recorder. A small book of since 2000 at the University of Connecti- music with crumpled pages cut, but that facility has raised room and obscures the rest of the board rates beyond the amount deemed recorder. A closer look at the feasible by the festival. The dates preferred image reveals precise and by the festival, in August, were not avail- carefully painted details—a able at Bennington College, so it will butterfly perches on a petal, be held July 11-25. For more a snail peers from under a information, contact director Marilyn leaf, and tiny, sparkling, Boenau at 617-744-1324, e-mail droplets of water are sprin-
10 American Recorder FOCUS ON ARS BUSINESS MEMBERS
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November 2003 11 A Recorder Icon Interviewed A Talk with Anthony Rowland-Jones
by Sue Groskreutz The following interview is an edited and This was followed by A Practice Book for the updated version of one that ran in four is- Treble Recorder in 1962. In 1978, his first Sue Groskreutz grew up on the south side of sues (January, April, June and December, book for adult beginners was published Chicago, IL, where she began her musical life 2002) of ARTAfacts, the newsletter of the (and reprinted in 1981): Introduction to the in the fourth grade by learning the violin and American Recorder Teachers’ Association. Recorder, which he considers as stage one the piano. She majored in music education It was conducted using a combination of of his learning trilogy. Playing Recorder (with emphasis in violin and piano peda- e-mail, postal delivery and fax in 2001, be- Sonatas: Interpretation and Technique gogy) at Illinois Wesleyan University. She fin- fore it was known that a new edition of (1992, still available from Oxford Univer- ished a master’s degree at Olivet Nazarene Recorder Technique by Anthony Rowland- sity Press/Clarendon Press) was written University and an Advanced Certificate in Jones would be reprinted in late 2003 by for those who were well into the Recorder Music Theory at the University of Illinois. Ruxbury Publications. (Ruxbury is affiliat- Technique stage, but with an emphasis on Her first teaching job was at the Walter F. ed with Peacock Press, publisher of The interpretation rather than technique, and Fierke Education Center in Tinley Park, IL, Recorder Magazine in the U.K. Those in- constituting the last of the learning trilogy. where she had the all-too-common experi- terested in purchasing Recorder Technique He also wrote Playing Recorder Duets ence of being asked to teach recorder with no when it is available in the U.S. may contact (1995, Allegro Press, Bristol), which in- formal training in the instruments. However, Magnamusic Distributors, Inc., contact cludes the first modern appearance of a she fell in love with the recorder in the information on back cover of AR). duet from Samuel Pepys’s personal music process, and went through the three levels of Corresponding to a considerably re- book. He was also assistant editor to John Orff-Schulwerk certification at DePaul Uni- vised third edition, the Ruxbury version Thomson for The Cambridge Companion to versity, where initial love of recorder became correlates Recorder Technique with A Prac- the Recorder (Cambridge University Press, a full-blown passion. Following the Orff stud- tice Book for the Treble Recorder, which orig- 1995), to which his contributions includ- ies, she drove several nine-hour round trips inally had been published several years ed an iconographic history of recorder de- to take private lessons with Aldo Abreu while apart and without cross-references. Now velopment and symbolism. he still lived in Bloomington, IN. She has reworked as a package, and with parts As a boy, he began to play (and almost since participated in many workshops and rewritten and expanded, the two form the immediately to teach) the penny whistle at master classes, including several years at the second stage of a learning trilogy (begin- the “ripe old age of 12.” Having started to Indiana University Recorder Performers’ ner to advanced) conceived by Rowland- teach penny whistle at such a young age, Workshop. Jones. Several chapters were also rewritten he can now boast that he has been teach- Ms. Groskreutz joined the board of direc- to serve as freestanding references to par- ing for some 65 years! tors of the American Recorder Teachers’ ticular skills, such as articulation. He switched from penny whistle to Association in 1994 and became its presi- The text of the full interview by Ms. recorder upon entering Oxford University, dent in 1997. She has also been active as a Groskreutz may be read at the ARTA web when he realized that the music he really music reviewer for American Recorder. site,
12 American Recorder In the excerpt below, Rowland-Jones answers brings the piece alive in ways that I would not questions about his book, Playing Recorder have come up with on my own. Sonatas, with a few references to Recorder Then, I listen to Nikolaj Tarasov’s lovely, Technique. Please note: to save space, the lyrical, legato interpretation (played on a abbreviations PRS and RT will be used for prototype of a modern alto on the CD entitled most references to these two books. Cantabile), and I begin to imitate his play- ing, much to the distress of some of the previ- SG. I’ve been rereading your 1992 book enti- ously mentioned teachers. So, I feel as though tled Playing Recorder Sonatas, and I came I am pretty flexible, and open to musical sug- across the following comment on page 30: gestions in spite of my “plough through it” “Some players, enthused at having a new sight-reading habit, but it is perhaps true piece of music put before them, will want to that I would be more flexible and open if I play it through at once. This exploratory run- studied the music first. Your comments? through can, however, all too easily fix certain ARJ. PRS uses a deliberate element of presentation styles, speeds, and phrasings in shock-tactic to keep readers thinking. But, one’s mind which are then difficult to eradi- after all, even the sight-reading section in cate later. It is probably best to think about a the Associated Boards’ Exams allows one sonata before starting to play any of it—its minute for the victim to look at the piece, “affect,” the speed of movements, thematic and think how best to play it, before actu- relationships, the character of the bass line, ally being asked to start. (I used to train my Anthony Rowland-Jones, on the dynamics, and so on.” students how to use that all-important occasion of his 75th birthday in This passage made me smile, as I could minute!) 2001, playing the low-pitch remember back when I was a high school stu- I’m not against sight-reading bashes, Lockwood alto given to him by dent. Once per week, I hopped on a train in- so long as you don’t kid yourself you’re students as a retirement present. to Chicago and took a violin and/or piano les- playing the music with complete under- son. Sometimes, I would have the time to standing—and then you should forget as sneak over to Carl Fischer to look through quickly as possible how you played it that piles and piles of music. If I happened to have first time. Furthermore, what I say is more a few extra dollars on me, I would buy a new about Baroque sonatas than difficult 20th- piece of music. Once home, I would make a century music, which is less formulaic beeline to my instrument and plough through and where structure is often less apparent the piece, come what may. (if there is any there at all). So it is very dif- To a certain extent, I am still this way. My ficult to make heads or tails of a 20th- personal cure for the “blues” is to find a new century sonata just by looking at it and piece of music, and then to go on a sight-read- trying to get the gist in the mind’s ear. It ing frenzy. I never thought that this habit has to be played through just to see/hear might be making me less flexible, and less what’s there. open to new ideas. I love to play the Bach The same is F Major Sonata (BWV 1031) on recorder. I true of much con- have made something of a game out of this certed music, so piece. If I travel to a recorder workshop and when I conduct, take a private lesson, I bring a fresh copy of e.g., a Byrd fanta- the piece with me, and let the teacher scribble sia, I play it all over it. I have played this piece for Eva through first Legêne, Han Tol, Aldo Abreu, John Tyson, rather slowly and Michael Lynn, Joris Van Goethem, and Paul completely me- Van Loey, and its safe to say that each teacher chanically so that has conflicting advice about some issues, but we get an inkling RECORDER TECHNIQUE that in each case, their interpretive advice of what it’s about. Advanced to Intermediate
Covers of the newly-reprinted companion volumes by 3rd edition, Rowland-Jones. Both incorporate Giovanni Girolamo considerably revised A P Savoldo’s Portrait of a Man with a Recorder, a rare T RA H CT ANTHONY ROWLAND-JONES E T IC painting showing a person actually practicing recorder. RE E B BL OO He does so in private, almost secretly, following the pre- E R K F w E O ith 2n C R up d e da dit O cept of Castiglione in his book The Courtier (1528)—that you should have musical ting ion R S co D ele mm E cte en R skills without revealing your struggles in acquiring them, as if they had come natu- d p tar rec as y ord sag er es rally. (More description is printed in Recorder Technique.) This image is repro- AN rep fro TH er m ON toir the Y R e OW duced with the kind permission of the painting’s owner, the Bank of Brescia, which has LAN D-J ON permanently loaned it to the Pinacoteca Tosio-Martinengo art gallery—a happy outcome, for ES Savoldo was born in Brescia, Italy, probably in 1485. He worked chiefly in Venice, and was an enthu- siastic amateur of music—in fact, he may well have known, or even been taught by, Sylvestro Ganassi.
November 2003 13 Then down to the nitty-gritty after that. I and I tried them out at a chapter meeting (among others), where he displayed amazing like your phrase “plough through it!” Af- when new music was passed out. I certainly control of a wide range of dynamics (and in- terwards the land has to be tilled, the didn’t cover all ground in one minute, but I tonation!) without playing “sleight of hand” seeds (ideas) sown, and the crop brought can see that it would be possible with practice. tricks and switching instruments. Just how to fruition. widespread is the practice of using softer Incidentally, I don’t think it’s a good instruments for softer movements within idea to imitate someone else’s perform- Practice the “Five Ps” Baroque sonatas? Have you ever seen this ance of a piece, even if that someone else procedure by talking done in an actual performance? is the composer! Teachers are there to of- ARJ. I think the answer to your question is fer technical and interpretative advice, aloud over a timed suggested in the following sentence on which players (pupils) then use as inspira- page 45—especially the phrase “even if tion to develop their own personal per- minute. they felt they were desirable.” [The full sen- ception of the music. Each of your starry tence reads, “As there is little or no pause collection of advisers on the Bach Sonata I read with interest your comments about between the movements of Baroque sonatas, will have offered you something of value. dynamics on page 45 of PRS. You state, “...a many players would not regard such expedi- They may not really like your emergent recorder can be pulled out and blown harder ents as practicable, even if they felt they were performance but they have no right to be for loud movements, and pushed back in for desirable.”] “distressed” that you have thought for soft movements; or different recorders can be [ARJ also suggests consulting two spots in yourself. used for soft and loud movements in the same J. J. Quantz, On Playing the Flute, where SG. You state that you used to train your stu- sonata.” I have actually done this—I have Quantz refers to lengthening and shorting the dents how to use that all-important minute switched to a softer recorder for the slower instrument to raise or lower the pitch in order before the sight-reading section in the Associ- movements. I already owned a very soft alto to deal with dynamics. Concluding the chap- ated Boards’ Exams. Can you give me a little made by Philippe Bolton that I regularly ter, “Of the Embouchure,” Quantz mentions, insight as to how you trained your students switch with my brighter von Huene Denner “It remains to be noted that if you wish to for that minute? alto. I recently asked Tom Prescott to make a moderate the tone of the flute and play some- ARJ. My very crowded formula for a worth- very quiet soprano recorder so that I could do what more softly, as is required in the Ada- while 60 seconds before a sight-reading the same with solos played on soprano. Tom gio,...[and] the flute becomes a little lower as exercise is called the “Five Ps” [see boxed made a beautiful soprano with an extremely a result, you must also [make adjustments to] list below]. Practice the “Five Ps” proce- narrow windway, which allows me to really raise the flute from its normal level as much dure by talking aloud over a timed minute. blow, and yet, play with a softer dynamics. I as your softer playing... require....This makes A professional faced with a new piece am absolutely in love with this instrument! the flute shorter, and thus higher; and in this would probably cover all this ground in a However, I always considered switching fashion you can always remain in tune with few seconds. I used to make my students instruments within a piece to be “cheating,” the other instruments.” In “What a Flautist “talk a piece through” in this way, aloud, since I have never seen nor heard of any of the Must Observe if he Plays in Public Concerts,” in one minute. “greats” switching instruments. I remember Quantz suggests, “If there is a large accom- SG. Your “Five Ps” make fantastic advice, an especially moving performance by Han Tol panying body, the flautist may tune the flute a little lower for the Adagio,…and blow more strongly, so that he is not covered up by the ac- Anthony’s Five Ps: companiment, should it be intrusive at times. Consider the music from the following aspects: In the Adagio, on the other hand, he must Personality tune so that he can play comfortably without What is the style of the music? Title? Speed-word (e.g.,“Andante’)? Major or minor? forcing the flute by excessive blowing. For this Key? Lively or sad? Bold or calm? Dance-like or song-like? it is necessary that he push [in] the width of a Phrasing good knife’s back deeper into the flute.... In Look for one or more places to breathe, or just to phrase (as if the music had words). the following Allegro, however, he must not Is the start upbeat or downbeat? Cadences? Rests? Phrases at half-way places? forget to [return] to its former position.” Pulse And my reasons for putting it this way Time-signature. Choose speed—not so fast as to make reading more difficult—not come out in the following paragraphs. I so slow as to make the music drag or sound dull. Music played with conviction, have never changed instruments in the good phrasing and expression will sound good even if played slowly. course of playing a Baroque sonata, Problems although of course quite a number of Look for: 20th-century pieces require changing, Accidentals—in key signature and elsewhere in the piece. e.g., from alto to sopranino. Carl Dol- Unexpected rhythms, dotted notes, triplets, ties, syncopations. metsch used to play the last movement of Speed changes (ritardandos, etc). Rit. at end? Telemann’s Concerto in E minor for Dynamics. If unsure, start mf. recorder and flute on a sopranino recorder Slurs, staccato, etc. (slight emphasis to show awareness). rather than the alto specified, but this High notes, unexpected intervals. makes this Polish dance movement even Pre-hear more exciting and I rather like it that way. Imagine the whole piece. Pre-hear opening phrase at chosen speed before starting I somehow don’t think Telemann would to play. have objected, perhaps not even to the ad-
14 American Recorder dition of a small drum as Carl did at a Newcastle Society for Recorder Players concert—Telemann himself talks about the “barbarity” of his Polish original. I did once play a soft movement by pushing in the head of the recorder, which had to be pulled out to start with to match the harpsichord as it happened. But I felt I was “cheating” a little. I regularly practice fingerings which allow for quite vivid changes of dynamic—one of my favorites is the echo achievable in the lower octave by thumb leaking, but it needs doing very carefully. Markus Zahnhausen, in one of his pieces, goes one stage further—recorder harmonics. This is a beautiful, clear but barely audible sound produced with ab- The first three note-formation diagrams were made by Roger North in his “Notes of Me” normally low breath-pressure (you need (c.1695)—Plate II of Roger North on Music. North was a viol-player, and his concept of the to purse your lips at the windway and “plaine note” derives from the sound produced by the outcurved Baroque bow, held under- blow only a pin-head airstream). But this hand. The last diagram, a “cigar” by Rowland-Jones, is a suggested shape of a Baroque is a very advanced technique. recorder plain long note, showing the faster articulation and formulation of recorder At the other extreme, my wife Christi- sound as compared with a note drawn out by a viol bow. Like the viol note, the recorder na told me that, with optimum heavy note is developed or nurtured after its short articulation period. shading, I once played too loud for the ac- companying harpsichord and ’cello! and then play it. They must have thought Han Tol is doing what any professional me mad! recorder player should be able to do—all SG. Plasticine, rolled roughly cigar-shaped? on one instrument! But Michala Petri Can you elaborate on this? I tried it, and walks in with a handful of sopranino could not get a sound out of it. recorders for her Vivaldi concertos, as she ARJ. The “cigar” idea derives from Roger worries about the windway getting wet. So North—see page 76 in PRS. If you mold she changes between movements to pre- your length of plasticine into the shape I vent blocking with moisture. All the in- have drawn under Roger North’s diagrams struments sound the same, however, and you have a visualization of the normally- the changing has nothing to do with dy- articulated and played plain note on a namic change. I have often changed in- recorder. A plain note on a viol is slower- struments— say three different altos—in speaking, as is shown by North. However, a program with pieces in different styles you can roll your cigar like this [see dia- from different eras. Indeed it is “inauthen- gram at upper right]. tic” not to. Of course in a way “sleight of There are hundreds of variations, of hand” is exactly what you saw Han Tol do: course, though copying your own molded carefully controlled and practiced finger- plastic on the desk in front of you isn’t al- ings, with leaking and shading, and plen- ways easy. What the exercise does for stu- ty of variety in articulation and breath de- dents is to instill the concept of the mold- livery positions. So many players simply ed note by producing it in a visual medi- don’t move their tongue around enough. um. Of course you can draw the notes as I I never play my “soloistic” recorders have done above, but using plasticine (mainly Dolmetsch’s) in consort. For this adds in the tactile action of actually mold- I use my quieter-toned Albert Lockwood ing the note. This concept is the key to ex- recorders, with shallower windways and pressive playing—nurturing a note after it narrower bores. Of course, I use Renais- has been articulated by volume change, sance-type instruments for playing music pitch change, or vibrato, i.e., rapid pitch of that period; it doesn’t sound right on change, or change in breath delivery as in Baroque-model recorders. But my superb the tremolo, or using tongue and finger This concept is the Lockwood voice-flute [see photo later in ar- positions to change the tonality of a note ticle] and tenor will work well in any situ- by varying its “undertone,” or its harmon- key to expressive ation. One can “mold” sound more in the ic structure. What is then done for one playing—nurturing a larger instruments. note is then applied to a whole phrase to Incidentally one of my teaching tricks achieve expressivity. I hope I haven’t note after it has been was to get my pupils to mold a single note blown too much cigar smoke at you! articulated. in plasticine, rolled roughly cigar-shaped,
November 2003 15 SG. Sometimes your writing is so striking subject lends itself to generalizations (i.e., that it almost makes me gasp. I came to more right than wrong) and aphorisms, so paragraph two on page 53 in PRS, con- here are a few more to inspire you: cerning the Affettuoso movement of the 1. More early music was improvised than Telemann Sonata in D minor, where you written down. So get used to improvising have written, “Except for cadential trills, and scratch the terrors. Twiddle an invent- no ornamentation, other than the figures ed Baroque sonata from scraps of Handel, Telemann has already included, and a etc., in your memory, or better still, make varied vibrato at the tops of phrases to up something within a simple chord bring out the intensity of the affect, is sequence, like a jazz musician with the needed in this movement. Its internal 12-bar blues. elaboration is as complete in itself as the 2. Some ornaments in Baroque sonatas folds of the drapery in Bernini’s St. There- are almost obligatory like an appoggiatu- sa sculpture (Plate 7)”. After studying the ra/trill at a final cadence, or a coulé on plate of the Bernini sculpture [photo at falling thirds at the end of a phrase in left], and the movement itself, I find this to French music. So start by getting these re- be a very lovely metaphor. But it brings big ally nice. This is what my Three Blind Mice questions to mind. exercise (PRS, Appendix 1 and also now in I tend to be something of a minimalist the third RT) is mainly for. when it comes to ornamentation, partial- 3. One note added to ornament a phrase ly from fear that what I want, and what can be more effective than eight. will actually come out, will not quite 4. A number of composers, such as Tele- agree! I went digging through my CD col- mann, Bach, and Handel, have shown lection and found a performance of this how they ornament their own music. sonata performed by Clas Pehrsson. He Read, mark, learn and inwardly digest. has added considerable ornamentation to 5. An ornament derives from affection, the Affettuoso, quite florid in some spots. I like a kiss. It should not be applied, like The Ecstasy of St. Theresa by Giovanni Lorenzo admit that I would be afraid to bring this mu- lipstick. Bernini (1598-1680), in the Cornaro Chapel sic to a teacher in a lesson or a master class 6. Repeats and da capos should enhance (1644-47), Santa Maria della Vittoria, Rome, situation without having added a bit of my- the original statement, revealing its mean- Italy. Kenneth Clark, in Civilisation (BBC, self, in the way of ornamentation. Ornamen- ing and beauty. Ornamentation is just one 1969) quotes from St. Theresa’s description of tation as an absolute “must” has been way of doing this—there are many others. how an angel with a flaming golden arrow drummed into me by many teachers, both in There is no such thing in music as an ex- pierced her heart repeatedly: “The pain was so private lessons and master classes. How does act repeat. great that I screamed aloud, but simultaneously one go about making the decision whether or 7. “Adagio” means “please ornament.” felt such infinite sweetness that I wished the not a movement can stand without added or- 8. It is better to play well without orna- pain to last eternally. It was the sweetest naments other than the obligatory cadential ments than to play badly with them. caressing of the soul by God....Perhaps the trills? 9. Ornamentation should never obscure closest parallel to the combination of deep ARJ. I’m delighted you so much liked my the structure of a piece or the shapeliness feeling, sensuous involvement and marvellous analogies between recorder sonatas and of its melodic lines. technical control is to be found not in visual art, works of art (as well also as rhetoric and 10. Always know what the continuo bass but in music....” In its manifestation of the poetry). The analogy with painting was is doing, and never ornament at cross-pur- theatrical power of sculpture and architecture used as long ago in Ganassi’s 1535 poses with the harmonic structures and to achieve emotionally affecting communica- recorder tutor, Fontegara. It not only af- progressions of the music. tion, the work of Bernini epitomizes the attitude fords the same cross-conceptualization as 11. Ornamentation is highly fashion-con- one should adopt not only to early 17th-century the plasticine cigars do, but places the mu- scious. A style of ornamentation that suits Italian sonatas, but also to later Baroque music. sic in its historical aesthetic context. one decade, country, instrument or com- Ornamentation is certainly a big ques- poser may be unacceptable in another. tion. Neumann’s book Ornamentation in And even some composers change their Baroque and Post-Baroque Music on orna- own styles to suit a particular piece of mu- mentation in the time of Bach runs to over sic and those who hear it. 600 pages without really attempting to 12. The Baroque word for an ornament cover the subject of ornamentation in its was a “grace,” not a “disgrace.” entirety. Other scholars have written even Well, there are a dozen ideas off the more pages disagreeing with him. So a lot cuff, which may help you even if they don’t of people are put off altogether. But, like quite answer your question. I don’t have grand slam tennis champions who began the Clas Pehrsson CD of the Telemann by knocking a ball against a wall in the D minor you mention, but generally Affet- back yard, you have to begin somehow. tuosos include a lot of the composer’s Both in RT [in the expanded third edi- own ornamentation. One can extempo- tion, see pp. 102-3 and 104-5] and in PRS rize a little, a rather perilous procedure I have tried to resolve this problem. The when the composer has already suggested
16 American Recorder what to do, but to make the music sound SG. I really enjoyed reading the chapter on florid is being self-indulgent to the point of tonguing in PRS (Chapter 5). Since I taught A particularly useful crassness. myself how to play the recorder (and made SG. I was disappointed to read what you had just about every mistake possible), my finger- (and fun) articulation to say about Neumann’s book, as I have pur- ing abilities developed way ahead of my chased the book and begun to read it. tonguing abilities. Many students with whom pattern that you ARJ. Neumann’s book is stupendous as an I have worked mirror my own development. incredibly comprehensive work of schol- They have quite good finger technique, but discuss is the “ticker arship, especially in relation to Bach. He very uninteresting articulation. Listening to has firm ideas, which were duly chal- students and helping them to liven up the ar- tacker deree digger do.” lenged by other scholars. I prefer Robert ticulation has probably helped me as much as Donington’s almost equally massive tome it has them! Chapter 5 should be considered [The Interpretation of Early Music, London, required reading for all emerging recorder corrected/revised second edition, 1975], players. Although I had previously heard or though he is sometimes too dogmatic in read much of the information in the chapter, his approach to an elusive subject. These the way you have organized the tonguings in- are works of reference, not a way to learn to the quick-speaking to the slow-speaking how to ornament recorder sonatas. articulations makes it easier to organize my In fact, it is the American Recorder thoughts and helps in decision making as to Teachers’ Association that has published where to use which articulations. what is now the best approach to Baroque But the real highlight (for me) in this ornamentation in issues 5 and 6 (1999 chapter was your tonguing suggestions in the and 2000) of the Recorder Education Jour- Furioso of the Handel Sonata in D minor. nal. David Lasocki’s contributions to Then I came across the footnote that reads: these two issues are, as always, brilliant. “Players trying out and practicing different When I read his writings, I often feel, “I tonguings will find that wearing ear-plugs wish I’d written that myself.” If you read, emphasizes the sound effect of their tongu- mark, learn, inwardly digest and then ap- ings, and this may help them to make a more ply everything in those two issues, you’ll informed choice of articulation and achieve get to the point where reference to Neu- tonguing accuracy, neatness, and variety” mann, Donington, Carl Dolmetsch and (p. 188). I tried this, and I could not believe Edward Dannreuther will become mean- how much it helped. Thanks so much for this ingful and worthwhile. valuable footnote. A particularly useful (and fun) articula- tion pattern that you discuss is the “ticker The Baroque word for tacker deree digger do.” I also appreciated the an ornament was a discussion about the differences that the vow- el sounds make in choosing articulations. Al- “grace,” not a “disgrace.” so, the “y” tonguing is something that I’ve never used, but I am beginning to find it use- (Dannreuther was the author of Novel- ful in difficult slurs. Do you have any more lo’s Music Primer on Musical Ornamenta- words of wisdom regarding the elusive topic tion, published in 1893-95 in two vol- of articulation? umes of about 200 pages—price six ARJ. Now you’ve broached a really diffi- shillings each!—a superb compilation of cult question—articulation. Quantz excerpts, some quite long, from the writ- wrote out pieces of music with tonguing ings or other indications by composers consonants marked above each note in his and others on ornamentation, ranging Chapter VI, “Of the use of the tongue,” from about 1600 to Richard Wagner, to- but his meaning isn’t always clear because gether with a scholarly commentary. It is a of the vital relationship between tonguing tremendous pioneering work.) and inequality. I don’t think it would be a Couperin, Bach, Telemann and Handel good idea to publish a whole set of pieces tell us, in different ways, how they like (sonata movements, etc.) as an exercise their music to be ornamented, and so, lat- book, as that would make the subject too er, does Quantz in his invaluable book On categorical and rigid. Like so much else in Playing the Flute and in his Solfeggi. (See Baroque music, articulatory interpreta- John Byrt’s article in Leading Notes, viii/2 tion is subjective, depending on one’s Autumn 1998, the journal of the U.K. Na- conception of the affect of the music, and tional Early Music Association, pp. 6-15. rhetorical considerations in its communi- This journal has been superceded by cation. One cannot be prescriptive. NEMA’s current journal, Early Music Per- But a few examples are needed to show former.) the nature of the questions that need to be
November 2003 17 asked. There is a book of mainly very diffi- trick is to make the patient say “a rat a rat” No two people enunciate cult exercises called The Complete Articula- over and over again. This worked well with tor [by Kees Boeke], but it was not my cup my Japanese student, whose patience was the same thing in exactly of tea. I did like the section, “Articulation phenomenal. in Early Baroque,” which helps you un- There’s another more amusing way the same way, as profiles derstand the historic sources of articula- and that is to “sing” tongue tunes. This is of tongue, teeth, mouth tion precepts on pp. 54-60 in Ulrike En- best done by placing the tongue, centrally gelke’s Music and Language–Interpretation in the mouth (i.e., vowel “err”), just graz- and lips differ. And there of Early Baroque Music According to Tradi- ing on to the teeth-ridge, with the sides of tional Rules (Zimmermann, Frankfurt, in the tongue only gently against the back are many different German and English parallel, pan 174, upper molars. If a very soft air-stream— ZM2814, 1990). And anything written on the merest whisper of air—is then activat- languages and many French articulation by Patricia Ranum ed, you (but no one else) will hear a note (e.g., American Recorder, January 2001) is of a recognizable pitch created by the tiny different ways the summit of authority—never do differ- vibration between the end of the tongue of speaking them. ently from what she says. Walter van and the teeth-ridge. It takes a bit of getting, Hauwe’s The Modern Recorder deals with but comes in the end. When you can hear articulation progressively in each of its it, move the cheeks in and the pitch will three volumes—all good stuff. He very fall about an octave, with intermediate rightly suggests that each recorder player cheek positions giving intermediate needs to develop his/her own style of ar- notes—so you can play tunes! This will ticulation. soon accustom you to getting the tongue In these last two writers’ points is the straight to an “r” position which will be hub of the problem. No two people enun- about right for Handel, Bach (or Quantz), ciate the same thing in exactly the same even Ganassi, but not for French music. way, as profiles of tongue, teeth, mouth Patricia Ranum says that the French and lips differ. And there are many differ- “r” is forward of the teeth-ridge, where it ent languages and many different ways of won’t play tunes. If you press the tongue speaking them. “D” is pronounced differ- forward and upward—firmly upward so ently in Spanish, Italian, French, German, that it bears on to the back upper mo- English English and American English, lars—you will be in the “y” position at an and “r” is even more variable, especially “ee” breath-delivery. This is a positive between England and Scotland. To teach stricture in air-flow. Using this “y” very tonguing you have to be a linguist, pho- sharply with a simultaneous drop in netician, speech therapist, music histori- breath-pressure, timed at lightning speed an, musician—as well as a crazy recorder to synchronize with finger-movement, you player. I had to teach a Japanese pupil will eliminate most register-break clicks in tonguing: it was gruelling (but she still slurring, even upward ones. The ultimate sends me a dainty card every Christmas). exercise is the E F G slur in “Sheep may Added to this, you need to accommo- safely graze” when it repeats as an echo ef- date tonguing to the voicings of each indi- fect. Even professionals dunk this, thereby vidual recorder—Renaissance or Baroque missing out on the echo. I admit to touch- style, descant, tenor or bass, etc. And then ing it up with “r” to help me over the high imagine how the composer would have ar- register break. A low breath-pressure with ticulated the music if he had sung it in the “y” doesn’t seem quite sufficient. But it language most familiar to him at the time depends very much on the voicing of the of composition. I said it was a difficult instrument and its bore. Bach used rather subject. narrower bore recorders than Handel, SG. Concerning my own personal difficulties made to play cleanly in the higher register, with the “r” tonguing, one instructor sug- but weaker on lower notes. gested that I say “daddy” with the “r” sound I have some of my own methods for supposedly coming on the second syllable of teaching tonguing, but of course use “daddy.” Can you shed any further light on Ganassi and Quantz for their respective this mysterious tonguing for me? periods, and several American Recorder ar- ARJ. One American writer did suggest the ticles—one from 34 years ago! These are second consonant of “daddy” as a way of “Tonguing and Rhythmic Patterns in Early getting “r” articulation, but this would Music” by George Houle in AR, Spring, bamboozle English readers who would 1965; “Articulation: The Key to Expressive produce two “d”s, the second lighter by Playing” by Scott Reiss in AR, November, virtue both of the strong-weak accentua- 1986; and a letter from Bernard Krainis tion and the tongue-raising effect of the that appeared in AR, May, 1988. These are following vowel. The speech therapists’ very important and useful articles.
18 American Recorder SG. While reading Chapter 6 concerning or- volumes of the Schickhardt sonatas, and I namentation, I came upon the following worked my way through them all. While my statement regarding some lower notes in Gio- intonation in some of the heavier keys left vanni Battista Fontana’s Sonata Terza: “The something to be desired, the technical gains suggestion here, as these low notes are par- that I experienced astounded me. I discovered ticularly rich in tone-quality on many all kinds of useful alternate fingerings and Renaissance descant recorders, is to generate trill fingerings that I would never have found huge sonority, using breath-, finger-, and pos- otherwise, and my sight-reading ability sibly also tongue-vibrato all at once” jumped by eons. (Of course, I also practice (p. 111). While I have used all of these types scales and arpeggios in all keys as well as of vibratos individually, I have never used chromatic scales beginning on every note.) them in combination. I tried using breath While I wholeheartedly agree with you that and finger vibrato together, and my finger “... the quality of the music would not always tends to want to move at the same speed as justify the effort and nervous tension that my breath. I wonder if you could elaborate on would be expended in performing them...” this. (PRS, p. 139), I would go through this ARJ. Early 17th-century music was per- “Schickhardt torture” again, and I would rec- formed with passion (“affect”) to the point ommend it to others. Am I giving out good of excess—a quality found in the architec- advice here? ture and drama (e.g., lavish masques) of ARJ. The answer is “yes, within limits.” It that period. So my suggestion of playing is clear from this question and some of three types of vibrato at once is derived your earlier ones that you are a person of from this idea. You will find just attempt- considerable determination and persever- ing to do it will achieve the right effect ance—almost a glutton for punishment! (affect) because of the “over the top” con- Practicing all the scales throughout their range, and playing sonatas written in keys with scary key-signatures only to demon- Systematized practice strate the versatility of the recorder (i.e., needs to be seen as a Schickhardt’s), is an excellent way of get- means toward enjoying ting to know your instrument, its strengths and weaknesses, and how by the recorder and its skillful fingering and breath and articula- music more. tion control, to remedy weaknesses. But not all people thrive on hard work, and I centration it requires. It doesn’t matter if would hate to put a less determined pupil some wavelengths synchronize. If you ac- off Baroque sonatas generally by forcing tually notice that, you haven’t got it some rather uninspired music in six flats right—it should be an uncontrolled out- upon him/her. burst! Scale practice is of course essential but SG. OK. Let’s hear it for uncontrolled out- one has to judge for each pupil how best bursts! Just wait until my next lesson with to inveigle him into the hard work side of Eva Legêne! recorder playing. My book, A Practice Book Another question/comment: I came to for the Treble Recorder, designed to accom- this quote on page 140 of PRS: “Mattheson pany RT, uses part of a very beautiful piece asserted that the recorder was the “only by Edmund Rubbra to exercise both C woodwind instrument on which one could major and F minor in close juxtaposition, play perfectly in tune in all twenty-four keys.” and an exciting piece by Gordon Jacob (in Critica Musica (1722) quoted by Walter marked “Presto con fuoco” exercises chro- Bergmann, “Henry Purcell’s Use of the matic scales in both directions. Vivaldi Recorder,” Recorder and Music Magazine provides plenty of arpeggio exercises. [predecessor to The Recorder Magazine], Similarly my Three Blind Mice exercise November, 1965, pp. 333-35). [PRS and the third RT] is a superb way of Then you stated: “Gratifying though this learning a whole range of fingerings as well statement may be, the emphasis has to be on as how to play a well-turned trill, but In October 2003, Anthony Rowland-Jones “could.” Remembering that original Baroque needs, in teaching, constantly to be relat- takes a break from practicing “some recorders were often less well-behaved into- ed to actual trills found in real and enjoy- difficult bits in Leclair flute sonatas” on nationally than modern recorders, the state- able music. Systematized practice needs his Lockwood rosewood voice-flute (tenor ment ought perhaps to read “...on which it is to be seen as a means toward enjoying the in D) during a Scotland holiday. just about possible, with a critical ear and recorder and its music more, by playing (Photo by Christina Rowland-Jones) considerable application, to play perfectly in with greater skill and confidence. Music tune in all twenty-four keys.’” will never sound right if the player loses In my recorder youth, I purchased all four his/her enjoyment and zest.
November 2003 19 The Recorder in the Nineteenth Century
by Douglas MacMillan t is generally believed that the recorder ers can be precisely identified through a Iceased to be an instrument of signifi- number of anonymous instruments to a cance in serious music by the middle of fascinating series of unusual develop- the 18th century, a number of theories ments in recorder making. It is those in- (some sound, others merely speculative) struments whose makers can be identified being cited for this. The principal reason, and located both chronologically and geo- I believe, is that the soft recorder became graphically that provide the major evi- inaudible in the enlarging orchestra of the dence for the continued existence of the late 18th century— an enlargement not recorder; my checklist includes instru- only in size but in sound quality. ments dating from the very beginning of The enlarging orchestra was itself a the century until well into its third quarter. product of the development (in music) of Essentially the recorder was a northern greater expressiveness and the develop- European instrument, with only a few ex- ment of sonata allegro form, products in- amples from Italy and none from Spain: deed of The Enlightenment. The days of most examples come from France, Eng- the suite (with its lack of harmonic devel- One Saturday morning in 1980 I was drink- opment) had given way to the emotional- ing a cup of coffee in Dr. Carl Dolmetsch’s ly powerful symphony, the trio sonata had The soft recorder became kitchen when I caught sight of a large and ob- been overtaken by the string quartet, and inaudible in the enlarging viously old recorder. Dolmetsch explained to opera had expanded considerably in me that the instrument was a voice-flute, scope. The few pieces from the late 18th orchestra of the late 18th stamped “Metzler” and therefore probably century calling for the recorder were most- dating from the early 19th century. Metzler ly occasional obbligato passages in ac- century—an enlargement worked in London at the turn of the 18th and companying vocal music. The German 19th centuries, and, although flute (a transverse flute using an early key not only in size but in subsequent research suggests that the instru- system later replaced by the key construc- ment is of somewhat earlier origin, the stamp tion developed by Theobald Boehm) had sound quality. indicates that it passed through Metzler’s replaced it in both orchestral and chamber workshop (probably for repair) and must music. land, Germany, and Austria. The English have been in use at the time. It is open to question, however, that and French instruments tend to be altos, The finding of this instrument kindled my any artifact of mankind will suddenly pass voice-flutes (tenor recorders in D), and interest in the dark age of the recorder’s his- into oblivion: in obsolescence it will linger tenors, but the list of recorders coming tory, the 19th century. A period of research here and there until it becomes obsolete from Bavaria (southern Germany) and led to my being awarded the Fellowship of (like the capped reed instruments of the Austria exhibits a preponderance of sixth Trinity College, London, in recognition of Renaissance) or it is forged anew and re- flutes (soprano recorders in D) and a thesis entitled “The Recorder in the late stored to a vigorous life. The story of the sopranos. The small, and geographically- eighteenth and early nineteenth Centuries,” recorder in the 19th century is of contin- isolated, town of Berchtesgaden in Bavaria a summary of the research being published in ued existence until the flowering of its re- was a noted center of recorder making un- The Consort in 1983. vival as the 19th century gave way to the til the death of the last known maker, Paul Thereafter my interest in organology re- 20th. Walch, in 1873. Of the French instru- mained dormant until I attended a lecture ments, a substantial proportion come recital by Nicolaj Tarasov on “The Develop- THE INSTRUMENTS from the villages of La Couture-Boussey ment of the Recorder from 1750 until the The essence of a study of a musical instru- (home of the Hotteterres) and Ivry- present” at The London International Exhi- ment during a period of obscurity is a la-Bataille. In London the firm of Gould- bition of Early Music in 2000; a few months search for extant instruments dating from ing was the last of the line of the great Eng- later I resumed work on the recorder in the the time in question, and of 19th century lish makers running through Bressan, the 19th century. recorders there is no lack. My research has Stanesbys, Schuchart, and Cahusac. Most What follows is a brief preliminary revealed the existence of well over a hun- of the recorders are “Baroque type” in- overview of the recorder during a period of dred 19th-century recorders, ranging struments, but in a few cases keywork has time when it is said to have passed out of use. from around 50 instruments whose mak- been added, no doubt in an attempt to
20 American Recorder simplify the cross-fingering required on the their own arrangements of Soprano by recorder. The pattern of keywork, however, ex- music originally intended Lorenz Walch II hibits no consistency. for other instruments. (1786-1862) Towards the end of the century, a few copies That such a custom was (Used by kind of historic instruments (including those of “Re- common in the 18th cen- permission of the naissance” type) were made, some simply as ex- tury is beyond doubt (wit- Dayton C Miller amples of an instrument of a bygone age to fur- ness London publisher Collection of the nish the cases of museums, while others were John Walsh’s arrange- Smithsonian made to be played upon. ments for recorder of Ar- Institution, Alongside the recorder (with its seven finger cangelo Corelli’s violin Washington, D.C., holes and one thumb hole) there flourished a sonatas), and present-day museum number number of other duct flutes—one, the flageolet, recorder players remain DCM 663) dating back a couple of centuries, another both adept at arranging music beginning and ending its career in the 19th cen- for their ensembles! Much tury. This latter instrument is the csakan—an in- of the Viennese csakan strument of greater interest than significance in music bears the heading, the history of musical instruments, but which “pour le csakan ou flute merits a few words in any discussion about the douce,” but it is far from recorder in the 19th century. certain that “flute douce” The csakan appeared in Vienna in the first applies in this context to decade of the century, and appears to have been the recorder. It is probable derived from the “walking stick” or “cane” flutes that the small German favored by dandies of the time: the name recorders were used in folk “csakan” is derived from an Hungarian word music. meaning “walking stick.” Initially the csakan had The importance of the The few keys, but at the height of its career it acquired recorder as an amateur’s instrument is well-doc- csakan, up to 13. It was made in the key of A and had a umented throughout the 18th century, and many out for range of a little over two octaves. Its use was con- players would have learned to play (at least after a walk fined to a small area of eastern Europe, and it fell a fashion) using one of the many tutor books into disuse after the middle of the century—but published during the late 17th and 18th cen- leaving a legacy of some 400 pieces ranging from turies. It is notable that the publication of these solos to concerti, many of which may be played methods diminished after about 1780, the last to on the recorder after appropriate transposition. be printed being Swain’s The Young Musician of Some authorities consider the csakan to be the 1818. “Romantic recorder,” but such a view stems from For music, it appears that the small number of a lack of perception of the continued existence of 19th-century recorder players either relied on the true recorder in the 19th century: Romantic arrangements or played folk tunes handed down duct flute, certainly, but not Romantic recorder. by an aural tradition. Even one of the first regular Of other duct flutes, the French and English early music ensembles, the Bogenhauser Kun- flageolets enjoyed considerable popularity stlerkapelle (active from the late 1890s) relied among amateur players, and also left a repertoire heavily on arrangements of music ranging from suitable for the present-day recorder player. Mozart through Strauss to folk and military pieces. MUSIC Commenting on the existence of a number of THE RECORDER IN AMERICA recorders dating from the late 18th and early Although the 19th-century recorder was essen- 19th centuries, Carl Dolmetsch—as long ago as tially a European phenomenon, there is evidence 1956—posed the question, “For whom were for the use of recorders—or at least recorder-type they made, and what was played on them?”. instruments—in the American Civil War of Almost half a century later, the answer to the 1861-65. first question remains obscure, for there is little Recorders came to New Hampshire as long documentation on performances, with the ex- ago as the early 17th century, one commentator ception of an isolated reference to the use of observing that, “For music, there are two drums recorders in church services in Switzerland. What for training days, while no less than fifteen haut- is certain, however, is that they were used, for oth- boys and soft recorders are provided to cheer the erwise there would have been no point in their immigrants in their solitude.” Some authors have manufacture: musical instruments are made to incorrectly assumed that this quotation refers to be played. the use of the instrument in bands of the Civil Virtually no music specifying the recorder has War period, which to any student either of the come down to us from the 19th century, suggest- recorder or of military bands would seem some- ing that recorder players then (as now) made what improbable.
November 2003 21 Sketch of the number of scholars (notably in Belgium) In music, what could be better than a Firth, Pond and began to express an interest in music of return to the refined and delicate tapestry Co. recorder, as former times, and by the last quarter of of Renaissance viol music, the elegant illustrated by the 19th century experiments were being simplicity of the trio sonata—and, of Russell Gerhardt made in the use of viols, lutes, harpsi- course, the correct instruments on which in the fall 1961 chords, and recorders. to play the pieces? The early pioneers dust- issue of That the complexity of the apparently ed off the old instruments and retrieved American simple recorder was not appreciated is be- long-forgotten music from libraries, even- Recorder yond doubt: in Brussels, in 1873, a demonstration of a “recorder consort” was given by student wind players, the Why, then, was this flautist being allocated the soprano, the oboist the alto, the clarinetist the tenor, obsolescent instrument and the bassoonist the bass. The resulting revived? ...it is my belief cacophony was heard by the young Arnold Dolmetsch, whose shrewd musical mind that a reaction against told him that something was sadly wrong and that musicians of former days would Romanticism and have played somewhat differently on the industrialization old instruments. By 1885, Mahillon had made playable led to a desire to copies of the Kynseker recorders in the Germanisches Nationalmuseum in Nurn- return to a simpler berg and brought them to be played in London at the International Inventions expression of emotion. Exhibition of 1885. The subsequent story of the revival of the recorder by Arnold tually making both modern copies of the Dolmetsch in England, and Gurlitt, instruments and publishing performing Danckert, and Harland in Germany, is editions of the music. well-documented and familiar to many. It is to these pioneers that the Why, then, was this obsolescent in- recorder—once in obscurity, but never strument revived? Its gentle sound could totally eclipsed—owes its present posi- hardly be pitted against the valved trum- tion. The continued history of the pet, the multi-keyed oboe and the modern recorder through the 19th century has violin, as it could be in the days of Bach’s born fruit in the development in both the However, the discovery of a recorder- Brandenburg concerti. It had been re- instrument and its music in the 20th type instrument by the New York makers placed (as had the Baroque flute) by century—and who knows where the 21st Firth, Pond, and Co,. dating from between Boehm’s keyed cylindrical flute in orches- century will lead this glorious instrument, 1856 and 1862 lends some credence to tral and chamber music. with its uninterrupted history dating from the theory. This instrument was described The same question may be applied to the Middle Ages? in an article entitled “The Anachronistic the lute and viol, but one answer may be Recorder” in a 1961 volume of AR. It is the applied to all. Douglas MacMillan began to play the size of an alto, its lower range extended by The late 19th century witnessed the recorder in his late teens, having rejected his a single key, and features a wind-cap in the height of romanticism in music, with the clarinet as being too modern. He studied the manner of flageolets of the period (the on- huge orchestras of Richard Wagner, Gus- recorder with Maureen McAllister and the ly other wind-cap recorder known to this tav Mahler, and Peter I. Tchaikovsky domi- Dolmetsch family and founded a Baroque author is an early 19th-century instru- nating the scene. Architecture had be- group, Camerata Oriana, in 1972. ment by Goulding, now in the Victoria come ponderous, and the Industrial Revo- He was awarded the Fellowship of Trinity and Albert Museum, London). Although lution (with its mechanization, huge College, London, for a thesis on the recorder the Firth and Pond instrument is a hybrid, factories and urbanization) was in full in the late 18th and early 19th centuries, and it could well be that such “recorders” were swing. the Fellowship of the London College used during the Civil War period, al- Throughout history any develop- of Music for a thesis on the Small Flute though it is rather unlikely that as soft an ment—whether artistic, scientific, theo- Concerto in early 18th century England. instrument as a wind-capped recorder logical, or political—has produced a He has published several papers would find a place in a military band. counter-reaction and it is my belief that a on the recorder, crumhorn, and cornamuse. reaction against Romanticism and indus- The author would be pleased to hear THE REVIVAL OF THE RECORDER trialization led to a desire to return to a from anyone who can add to knowledge It is often said the “Early Music Move- simpler expression of emotion. The Arts of the recorder in the 19th century as ment” began with Felix Mendelssohn’s and Crafts Movement, the pre-Raphaelite he continues research in this field. 1829 performance of Bach’s St. Matthew artists, and the simple life of some reli- He can be contacted by e-mail at Passion, the first for perhaps 100 years. A gious sects bear witness to this.
22 American Recorder Q & A ______Recorder instrument development after the Baroque era
UESTION: Why doesn’t the recorder have the csakan. This instrument is believed to and were intended for playing easy salon Qmany keys like other woodwinds?— have been invented by Anton Heberle, a music. Later ones, however, were designed Students in grades 4-6, visiting The Metro- Viennese flutist, around 1807. Its name for performing challenging solo and cham- politan Museum of Art in New York City, NY ber works composed expressly for them. Recorders, being fipple Such instruments were not standardized, NSWER: Flutes, oboes, clarinets, and being made with up to 10 keys, and some Abassoons were not always many-keyed flutes, were not designed of them were transposing instruments like instruments. The Baroque ancestors of our for playing the highly the modern clarinet and saxophone. modern woodwinds had only a few keys. In 1821 Ernest Krähmer, a Viennese Extensive keywork was added in the 19th expressive orchestral oboist and csakan virtuoso, wrote a century, when challenging orchestral repertoire of the late method book for a csakan with seven keys repertoire created a demand for new fin- 18th and 19th centuries, and a 2.5-octave range, and he composed gering systems that extended the instru- a good deal of music for it (see Music Re- ments’ ranges and avoided awkward music that required views in this issue). Altogether, about 500 forked fingerings. Complicated keywork large, controlled pieces have been composed for the was devised to make these new systems csakan, most of them before 1850. (For possible. Addition of full keywork also en- changes in dynamics. German-speakers, or those whose German abled makers of transverse flutes to drill is sufficient to read through a repertoire larger tone holes, allowing more sound en- comes from a Hungarian word meaning list, such a list is included in Marianne ergy to radiate out into the concert hall. “walking stick” or “cane flute,” because Betz’s book, Der Czakan und seine Musik, Recorders, being fipple flutes, were not the first csakans were used as walking Tutzing: Hans Schneider, 1992). The in- designed for playing the highly expressive sticks as well as musical instruments. strument continued to be played up to the orchestral repertoire of the late 18th and Early csakans were made without keys turn of the 20th century. 19th centuries, music that required large, controlled changes in dynamics. Traverso players and reed players could produce the required dynamics and still play in tune by coupling increases or decreases in breath pressure with changes in lip posi- tion or tension, so as to alter the size and shape of the windway. This is not possible with a fipple flute, which has a fixed windway. Playing louder by blowing harder causes a rise in pitch. Playing more softly by blowing more gen- tly causes the pitch to fall. Thus the recorder could not be used as an orchestral instrument during the Classical and Ro- mantic periods and, consequently, did not share in the modernization of the other woodwinds, which included the addition of full keywork. However, it would be wrong to say that nobody ever invented a multi-keyed recorder. Such instruments actually did exist in localized regions of Europe during the 19th century, as will be explained be- low, and certain makers today are still ex- perimenting with many-keyed recorders. Although the recorder fell out of favor in most parts of Europe between about 1750 and 1900, it remained popular in Austria-Hungary during a good part of the 19th century in a modified form known as
November 2003 23 Many-keyed recorders were also made ers, an interest is now developing in uniform in volume and tone color by a few individuals in the early and mid- recorder arrangements of selected pieces throughout a range of 2.5 octaves. It has a dle 20th century, but their popularity was from the Classical and Romantic reper- non-reedy, flute-like tone that is said to localized and short-lived. In 1926, Louis toire, and a few makers are now designing nicely complement the sound of a modern Stien, principal oboist of the Paris Opera, recorders intended for such repertoire— or historical piano. invented the flute d’amour, a modified i.e., recorders with an extended range, a This instrument is available from sev- tenor recorder with modern oboe finger- stronger low register, and full keywork. In eral vendors who advertise in American ing and keywork. 1988, saxophonist Arnfred Strathmann Recorder. Prices vary from around $450 to In the 1950s Edward Powell, son of a developed a soprano and alto recorder around $900, depending upon the dealer renowned Boston flute maker, designed with elaborate saxophone keywork and and the kind of wood (pearwood, rose- the “Orkon,” a modified soprano recorder other innovations. Read the Q&A segment wood, or ebony). with simplified Boehm-system flute fin- below for more information about other Mollenhauer also makes another line gering. He had hoped it would be widely recent developments. of harmonic recorders, the Helder Har- used in elementary-school classrooms as a While Mr. von Huene does not foresee monic alto and tenor. These instruments, pre-band and pre-orchestra instrument. a great demand for such recorders in the developed by recorder maker and player In 1959, Boston recorder maker near future, he favors making them avail- Maarten Helder, are intended for profes- Friedrich von Huene designed an alto able to adventurous players who would sional performers of 19th- and 20th- recorder with Boehm-system fingering, welcome them and are willing to pay the century music. The tenor has the same but lack of time and money prevented him price. range as a Boehm flute (b to d''''), over from perfecting it. three octaves! Thus it can be used to play Despite the ingenuity of the above in- UESTION: I have heard that there are cer- solo flute repertoire. ventions, commercial production of these Qtain instruments called “harmonic The alto has an equally wide range, ex- instruments proved unsuccessful. Failure recorders,” which are designed for playing tending down to e'. was attributed partly to their high cost and late-18th-, 19th- and 20th-century music. These instruments have four keys, partly to the 20th-century early-music What exactly is a harmonic recorder, and which allow the lowest notes to be revival with its emphasis on historical how does it differ from conventional reached easily and aid in playing the third instruments. recorders?—G. R., Portland, Oregon octave. The head joint of these versatile With a goodly amount of Renaissance, recorders contains a detachable “sound Baroque, and 20th-century music, as well NSWER: “Harmonic” recorders are unit” consisting of four parts: (1) an ad- as numerous popular and folk arrange- Arecently-developed instruments de- justable block (patented by R. Strath- ments currently available to recorder play- signed for playing post-Baroque reper- mann), whose vertical position can be toire. Modeled after a line of long-bored changed by turning a knob before playing recorders made in pre-World War II Ger- or during a pause in a performance to pro- many, these instruments have a special duce different tone colors, or to compen- bore design that enables them to produce sate for swelling of the block during Kung in-tune harmonics by overblowing their lengthy performances; (2) an adjustable Moeck lowest notes, something a conventional windway ceiling whose distance from the Aesthé recorder cannot do—hence, their name. block can be changed to produce other As a result of that special property, tonal variations; (3) several interchange- Yamaha these recorders are said by their makers to able windway roofs made of different Mollenhauer have a range easily extended through kinds of wood, for still further tonal varia- Recorders overblowing, with a strong, full tone tion; (4) a mechanism by which the player throughout their entire range. Some of can tilt the block with his lips so as to them also include mechanisms for effect- modify timbre and dynamics during a per- Competitive Prices ing changes in dynamics and timbre with- formance. The lip control device can, by out using alternative fingerings. request, be made and adjusted to the play- Sent on approval Harmonic recorders are now being er’s specifications. made by the Mollenhauer Company in The tenor also has an optional “piano” Personalized Germany. The Mollenhauer “Modern” al- key, which makes decrescendos possible. to, developed by recorder maker Joachim The Helder recorders are made of rose- Service & Advice Paetzold in collaboration with recorder wood and come with a hard carrying case. virtuoso Nikolaj Tarasov, is designed Approximate prices are $2,200 for the Bill Lazar especially for playing late-18th- and 19th- alto, $2,500 for the tenor without piano Lazar’s Early Music century music (i.e., Classical and Roman- key, and $2,700 for the tenor with piano [email protected] tic repertoire). Since it is 1.25 inches key. These instruments are custom-made longer than the standard alto, it has a dou- and are obtainable by special order only. (408) 737-8228 ble key for the low f and f . Carolyn Peskin www.bill-lazar.com Unlike traditional Baroque-style recorders, whose lowest notes are weak Send questions to Carolyn Peskin, Q&A Editor, and thin-sounding while their highest 3559 Strathavon Road, Shaker Heights, OH 44120; notes are unpleasantly loud, the “Mod-
24 American Recorder November 2003 25 Composers/Arrangers Arranging an Orchestral Work for n recent years, arrangers of recorder en- doubled in places by violin 2 an octave be- Isemble music have been turning to light low (a typical orchestral technique). Ignor- orchestral works from the Classical and ing the octave doubling, I assigned the Romantic periods (late-18th and 19th cen- melody in those measures to soprano 1. Recorder turies). Despite the inability of recorders In the first section of the trio (measures to reproduce the dynamics and varied tim- 17-20), the melody alternates between bres of the original instruments, some of violin 1 and clarinet 1, and several parts this repertoire sounds quite charming on drop out to lighten the texture. I gave the Quintet recorders. This article discusses my melody there to soprano 2 alternating with arrangement of Beethoven’s Contredanse alto, and made soprano 1 tacet (silent). In by Carolyn Peskin No. 5 for recorder quintet (SSATB). measures 21-24, the two violin parts have Derived from English country dances, the melody in octaves. I again ignored the contredanses were popular on the octaves and gave it to soprano 1. European continent during the 18th and In assigning the other parts, I tried 19th centuries. Beethoven’s Twelve wherever possible to distribute interesting Contredanses, composed in 1802, were counter-melodic motives among the inner scored for various combinations of instru- voices. For example, I gave the 16th-note ments and were probably commissioned trill in measure 10, originally scored for for use in an official masked ball. bassoon 1, to the tenor recorder, and the The source consulted was a 19th- descending 16th-note run in measure 11, century edition of the orchestral score originally scored for violin 2, to the alto. (Ludwig van Beethoven, Werke, II/17a, Before proceeding further, I had to Leipzig: Breitkopf & Haertel, 1862-65). make one important change. Contredanse Dance No. 5 was scored for violins 1 & 2, No. 5 was originally written in the key of E ’cello, double bass, two B clarinets, two major. Although that key fits the ranges of bassoons, and two E horns. The double the recorders, it proved unsatisfactory be- bass part duplicates the ’cello an octave cause of the awkward, weak-sounding low This is the eleventh in a series of lower and so is not considered a separate E s in the soprano parts and low A s in the articles featuring the works of com- part. The second violin part has frequent bass part. Transposition down a half step double stops and must, therefore, be treat- to D major eliminated that problem. posers and arrangers who write for ed as two separate parts. There are thus 10 All dynamics on my score are Beet- the recorder. Each installment is individual parts. hoven’s, as are the articulation markings in The harmony, however, consists entire- the trio section. In measures 1-16, the ar- accompanied by discussion of the ly of triads and seventh chords (triad plus ticulations in the top line are Beethoven’s. the composer’s own working meth- added seventh above the tonic note), so He did not include articulation markings four parts are adequate to cover it. My task for the other voices in those measures, but ods, including the performance con- in making a quintet arrangement was to I added some in an effort to approximate siderations that went into creating choose the five most important lines at any his dynamics. I thus made eighth notes in given moment and disregard the others. soft passages staccato and those in loud the selected piece of music. It is Clarinets and horns, unlike recorders, passages more legato. In measures 23-24, are “transposing instruments.” Their mu- which are meant to be loud, I departed hoped that the considerations that sic is not notated at the pitches actually from Beethoven’s downward melodic pro- composers and arrangers have to heard. I first rewrote those parts at actual gression and transposed the top line up an pitch. octave so as to avoid the top soprano’s keep in mind will be of general Next I determined which instruments weak lowest notes. In a grand-consort sit- interest to all AR readers, who will have the bass line and which have the uation, Beethoven’s crescendo can be melody. That was easy, because the piece is better approximated by playing measures also be able to add to their music essentially homophonic (melody plus 17-20 one-on-a-part and then gradually collection a series of performable chords). The bass line is scored for ’cello adding players in measures 21-24. and double bass except in measure 21 Carolyn Peskin is a member of the Associ- short pieces or excerpts. (horn 2) and measure 22 (bassoon 2). I as- ation of Recorder Composers and Arrangers, Stan McDaniel, Series Editor signed that line to the bass recorder. In the editor of American Recorder’s Q&A first 16 measures, violin 1 has the melody, column, and current ARS vice president.
26 American Recorder
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Performance note from the arranger: This arrangement can be played by a quartet by giving the repetitions of A in measures 17-20 to soprano 1 and then deleting the soprano 2 part. In fact, I had originally arranged the piece for four recorders and added the second soprano line later to accommodate a beginning player. The quintet arrangement is designed especially for a grand consort situation in which one or two strong sopranos play the top line and the other sopranos play line 2.
Copyright © 2003 Carolyn Peskin. All rights reserved. A MIDI playback of this piece is available in Recorder On-Line at
______ON THE CUTTING EDGE ______Scaling Mt. Everest, concerto-style
have news of a major new recorder con- Triptych (“Triptico”) for Recorder and These are extended durations for any con- Icerto that received its premiere on Orchestra. Let Tyson tell the story in his certo, not just for recorder. March 16, 2003, in Wiesbaden, Germany. own words: The question, as in most music, is The soloist was the American virtuoso, I met composer/conductor David Seren- whether or not the work sustains interest John Tyson, and the orchestra was the dero several years ago when I performed the throughout its length. Although well- Rhenish Collegium Musicum conducted Arnold Cooke and Heberle concerti with his scored for the most part—Tyson has as- by the composer, David Serendero. orchestra in Wiesbaden. I had heard a sured me the orchestration is colorful and Chilean recording of one of his compositions and was effective—the piece is written in a naïve, composer, impressed with the stylish ease with which he over-emphatic style that reminded me of conductor and wrote for orchestra as well as with a generos- circus music in many places. At its worst, violinist David ity of spirit in his music. At that time I asked the music sounds like Dimitri Serendero was him if he had ever thought of writing for Shostakovich or Nino Rota on a bad day. born in Santia- recorder and orchestra—something which he At its best, it can certainly bring a smile to go in 1934. had never considered! To make a long story one’s face, and maybe even cause genuine Since 1972, he short, we very much enjoyed working togeth- laughter—not in mockery, but out of has lived and er and after the concerts he invited me to his enjoyment of the work’s energy and high worked in Ger- place to discuss things and for me to demon- spirits. many, con- strate the recorder’s potential. He said that There are some unusual touches in the ducting the he would think about a Recorder Concerto work. The recorder cadenza in the first Rhenish Col- (something which composers say but which movement—quite a long cadenza, by the legium Mu- rarely happens). Much to my surprise, a few way—begins with a passage for both sicum since its months later I received a thick package from recorder and voice. This involves playing Composer David Serendero founding in him containing a completed 45-minute Con- and humming at the same time, which is 1973. certo for Recorder and full Symphony Or- quite possible on wind instruments, often Tyson is one of America’s true recorder chestra! as double-stops. Here the vocal line is in- “stars.” His recordings and concerts have dependent of the recorder line. Since I had established him as a highly persuasive ad- only a MIDI version of the score to audi- vocate for the recorder in both old and No recorder concerto to tion, I can’t be sure how well this works, new music. As a faculty member of the but Tyson assured me it was a fine effect New England Conservatory of Music in my knowledge has ever (although he confessed he was not much Boston he has helped to train emerging of a singer and had to work hard to master recorder players for many years. I have been conceived with the technique required). heard him live several times in Boston, The second movement ends with three MA, and have been impressed by his tech- such length and capacity measures in the recorder part marked nical and communicative skills and his ex- “Grumbling,” and “independent breath pressive commitment to whatever he for sheer entertainment and fingering,” beginning forte and taper- plays. His eclectic ensemble Renaissonics ing to pianissimo. Tyson tells me this in- has been much praised for its innovative value as this one. volved free improvisation with fingers fly- and entertaining concert programs. ing all over the holes. If the orchestral No stranger to modern recorder con- This is indeed a huge piece of music. Its chords (simple triads in the strings) be- certos, Tyson released a CD in 1990, three movements call for alto recorder in neath the “Grumbling” were more inter- Something Old, Something New on the the outer movements, and tenor recorder esting, this would be quite a remarkable Titanic label (available through the ARS in the central one. The orchestra consists conclusion to the movement. CD Club), which has been a favorite of of woodwinds in pairs, pairs of horns and The piece is very tonal and the mine for years. Concertos of Antonio Vi- trumpets, percussion and strings. The ap- melodies hue closely to the tonic in what- valdi, Joseph Bodin de Boismortier, and proximate durations for the movements ever key center is employed (the tonal cen- Arnold Cooke are including on the record- are as follows: ter does shift quite often). The composer ing, as well as Alan Hovhaness’ Sextet for Mvt. 1, “A Bright Day,”18 minutes seems happiest writing jaunty, scherzo-like Recorder, String Quartet and Harpsichord. Mvt. 2, “Dreams,” 12 minutes music: even the slow middle movement The Cooke concerto played a part in Mvt. 3, “Dance,” 13 minutes can’t resist breaking into a scherzo for the genesis of the new Serendero work, much of its length.
30 American Recorder I tried out various passages on my preparing and premiering this enormous recorder and found much of the music lies work. To return to Tyson’s own words: comfortably on the instrument. With all . . . I really like this concerto. It is a the shifting tonal centers, of course, there generous, joyous, complex and very is a considerable amount of chromati- entertaining work and a brilliant showcase cism. This, coupled with lots of fast pas- for the recorder. It is conceived as a way to sages and virtuoso incorporate the figuration, makes I envisioned costumed recorder into a mod- Honeysuckle Music Triptych a real chal- ern orchestral con- lenge, a kind of Mt. characters capering text. Yes, I did play Recorders & accessories Everest of recorder without amplifica- ... concertos to be tion (although in a scaled by the most about during many less than ideal Music for recorders & viols intrepid adventur- acoustic, amplifica- ers. of the composition’s tion might be Jean Allison Olson With some prun- needed). 1604 Portland Ave. ing—I think the The premiere St. Paul, MN 55104 piece would be more movie-music passages. took place in a 651.644.8545 effective and more church in Wies- [email protected] practical if it were perhaps half its original baden, seating perhaps 300 on the main length—this could be an entertaining ad- floor with additional seating in a balcony. dition to many a concert, especially The ensemble, according to Tyson, was of “pops” or family-oriented programs, large chamber orchestra size. In other Carolina Baroque which are so much in vogue these days. Al- words, it was a fine setting for the recorder. Dale Higbee, Music Director ternatively, any of the movements can For the record, Tyson used a Dawson Music of 1600-1750 on period instruments stand alone as a complete musical experi- alto recorder—voiced to be played loud- ence. I envisioned costumed characters ly—in the outer movements, and a Yama- Concerts -- Carolina Baroque CDs 412 S. Ellis St., Salisbury, NC 28144-4820 capering about during many of the com- ha plastic tenor in the middle movement. [email protected] ~ (704) 633-9311 position’s movie-music passages. That He liked the accurate tuning and reliabili- www.carolinabaroque.org said, it must be declared that no recorder ty of the Yamaha and was quite happy with concerto to my knowledge has ever been the results. conceived Serendero has prepared the score with such meticulously using Sibelius music soft- length and ware. The score and parts are handsome capacity for and easy to read, and are available from sheer enter- the composer. tainment val- I urge professional recorder soloists to ue as this investigate this huge and entertaining one. concerto. There is nothing like it in the John recorder repertoire. Tyson de- The composer David Serendero serves a can be contacted by e-mail at hero’s medal
editions dolcimelo
Jan Pieterszoon Sweelinck series… New transcriptions for SATB recorder ensemble – beautiful and challenging music for experienced players: Mein junges Leben hat ein End’ Pavana Philippi Engelsche Fortuyn – variations on “Fortune My Foe” Available at music stores and on-line at www.dolcimelo.com 919 13th Avenue East, Seattle, WA 98102 (206) 229-9956
November 2003 31 MUSIC REVIEWS ______Carols, chorales and trios, a Classical concerto, and csakan studies for recorder
CONCERTO IN F MAJOR (CA. 1785), eolet repertoire contains a few pieces of art (notated) middle C reaching two octaves BY ANGELUS ANTON EISENMANN, ED PETER music, including concertos. to the second ledger line C. Some even go THALHEIMER. Moeck Verlag 1057 and Whatever the case, the Concerto in F is higher to a C /D , D, E , and E . Thus, these 1058 (Magnamusic), 2001. S’o and orch a charming, tuneful work in three move- etudes make good practice for recorder (2 hns in F ad lib, 2 vlns, vla ad lib, ’cello) ments that lies under the fingers nicely players who find themselves inadvertently with pf reduction. Sc 19 pp, pts 2–5 pp, pf and would make a delightful concert piece switching to F fingerings in the higher 14 pp. $22 (rec and pf), $32 (sc and pts). for intermediate-level recorder players. The post-Baroque recorder repertoire This publication is a fine critical edi- is sparse, which is disheartening in part tion issued in two versions: the solo part Krähmer’s music is gutsy, because the recorder is well-suited for the with a piano reduction of the orchestra lyricism of early and late Classical styles. (Moeck 1058) and a full score with the or- lusty, vital, vigorous, Imagine a Stamitz quartet or a Mozart sin- chestral parts (Moeck 1057). fonia concertante that features the recorder. Thomas Cirtin often humorous, and Consequently, an obscure Classical recorder work is a remarkable find. 50 STUDIES (CSAKAN-SCHULE,) just plain fun. But is the Concerto in F Major by OP. 31, BY ERNST KRÄHMER. Dolce 511 Angelus Anton Eisenmann actually for (Magnamusic), no publ. date listed. A so- ranges of a soprano recorder. recorder? Little is known of Eisenmann lo, 35 pp. $9. Anyone who has ever played through beyond the fact that he was active as a vio- Joseph Ernst Krähmer (1795-1837) Krähmer’s Concert Polonaise, Op. 5 (DOL linist and composer in Cologne in 1785, was a recognized virtuoso on the csakan, a 204), or his Rondo LaTyrolienne, Op. 35 when the recorder was, at best, a fading form of keyed recorder that originated in (DOL 205), knows that Krähmer’s music memory. According to the preface of the Hungary. With Krähmer’s splendid play- is gutsy, lusty, vital, vigorous, often hu- present edition, the solo part in the manu- ing, the csakan was able to develop its own morous, and just plain fun. These etudes script is designated flautino and trans- distinctive repertoire. did not disappoint me. They are just about Krähmer composed many works for the perfect difficulty for a rousing sight- An obscure Classical csakan between 1822 and his death in reading session for an advanced player recorder work is a 1837—most of them in the popular Vien- who knows his/her scales and arpeggios nese “salon” style. These 50 Studies have and can play them rapidly. Advanced in- remarkable find. been selected from Ernst Krähmer’s termediate players might enjoy them as Csakan-Schule (Op. 31), published in well, but I would recommend serious posed down a fourth. This is curious. One Vienna around 1830. Pieces from the orig- study of scales and arpeggios (including would not expect to find that an 18th- inal that are too easy or have too wide a dominant seventh arpeggios) either before century performer had used C fingering range for the recorder have been omitted. or during your study of these etudes. for playing an F recorder—just the oppo- Also, the original collection ended with an This is not to say that this music is just site, actually. extended fantasy that has not been in- a collection of scales and arpeggios. While Furthermore, the term flautino is of lit- cluded because it has already been pub- the etudes are certainly graced with such, tle help: it was used to indicate a variety of lished separately (DOL-510). each one has its own musical identity. instruments, including small versions of On the back page of this publication, Some of the etudes use the turn abun- the flauto traverso and flageolet as well as Bernard Thomas wrote the following: sopranino recorder. Perhaps the best can- dantly, and I found myself occasionally didate is the flageolet in G—a member of “Bearing in mind that the csakan was orig- substituting other ornamentation so as to a family of instruments that enjoyed re- inally in A flat, recorder players can choose not overuse the turn. Other selections em- newed popularity at the end of the 18th to play this music either on a soprano in C, phasize trills and mordents. Also included century—whose part would be trans- or alto in F, if a more authentic instrument are some double-tonguing exercises with posed down a fourth. The work fits such is not available.” However, only a couple of “dad’ll” as the suggested articulation. an instrument well, as it stays close to the these studies can actually be played com- Recorder players will, of course, need to home key with only a few easy accidentals fortably on an alto; the great majority fit use various legato tonguings in place of in the solo part. Although largely consist- nicely on a soprano recorder. the indicated extended slurring. ing of dance and popular music, the flag- The ranges are very wide, often from a Since these pieces were composed be-
32 American Recorder tween 1822 and 1837, they definitely have parts for tenor recorder/viol/oboe, bass verses. a late Classical/Romantic flavor to them, crumhorn/viol, and keyboard. Although “Venez, bergers,” in A Songbook of and they help to fill in a historical gap in the tenor crumhorn is not mentioned as a French Carols, could also be performed by repertoire for recorder. Although they are possibility for the first optional part, we either a larger or smaller ensemble. It is called “etudes,” many of them could easi- used it because of the way it matched the scored for voice, SATB recorders with the ly stand up as solo repertoire or great solo bass crumhorn, which played the second possibility of using either viol or ’cello on encores. optional part. the bottom line in lieu of bass recorder, Sue Groskreutz After an introduction using the basic keyboard, a variety of percussion instru- melody accompanied by a drone and ments such as tambourine, dumbek/bass A SONGBOOK OF FRENCH CAROLS, drum, wood blocks, finger cymbals, and ARR. JOSEPH A. LOUX, JR. Loux LCC-19, “Il est né” is the an optional drone in fifths. Again, variety 1999. Voice (or melody inst.), SATB could be created for the six verses by the recorders and/or other insts., opt. kbd, most appropriate piece occasional use of the drone, by using dif- crumhorns, perc. Sc 16 pp, vocal pt 8 pp, ferent voices for different verses, and by kbd pt 4 pp, other pts 2 pp each. $12.50. from the collection using the keyboard as the only accompa- NOËL DES OISEAUX (CAROL OF THE niment for a singer during at least one BIRDS), ARR. J. A. LOUX & J. R. PHELPS. for a larger group. verse. Loux LTM 13, 2001. Voice or solo inst. The third piece in A Songbook of French with kbd and/or recorder, viol, or string mildly technical parts on the alto and Carols, “Célébrons las Naissance,” is a less ensemble, opt. perc. Sc 4 pp, vocal/kbd pt. tenor recorders, there are six verses that interesting arrangement for recorders be- 4 pp, other pts 1 p. each. $8. could be sung with instrumental accom- cause it is intended as a vocal solo with VOICI TROIS BOHÉMIENS (WISE paniment or could be performed just in- keyboard accompaniment. The recorder MEN COME FROM THE EAST), ARR. strumentally. If it is performed without a ensemble only provides a short introduc- J. A. LOUX & J. R. PHELPS. Loux LTM 14, singer, an instrumentalist will need to play tion, interludes, and a coda. However, 2001. Voice or solo inst. with kbd and/or the vocal line on the last verse since the there are many situations where such an recorder, viol, or string ensemble, opt. melody is not included in the instrumen- arrangement would be very useful. perc. Sc 4 pp, voice/kbd pt 4 pp, other pts tal parts. In 2001, the Loux Music Company be- 1 p each. $8. The KRP found that it was important to gan publishing a new series of French car- TWO FESTIVE CHORUSES, BY JOHANN provide more variety if all of the verses ols entitled La Tabatière à Musique with the SEBASTIAN BACH, ARR. CHARLES NAGEL, were to be performed. Variations em- expected completion of the set to occur Cheap Trills TR35 (Magnamusic), 2001. ployed were the occasional use of the op- this fall. Besides the titles reviewed here, SATB, Sc 8 pp, pts 2 pp. $5. tional parts, the use of different vocal other familiar French carols (such as WEIHNACHTLICHE TRIOS FÜR ranges for different verses, and the addi- Le Sommeil De L’Enfant Jésus and Noël Nou- BLOCKFLÖTEN (CHRISTMAS TRIOS tion of the sopranino recorder for the final velet) are listed in this series, as well as FOR RECORDERS), ARR. RONALD J. AUT- verse. We enjoyed exploring the many pos- many less familiar ones, giving ensembles ENRIETH, Moeck ZFS 751 (Magnamusic), sibilities with this fairly common carol. a multitude of choices for new music. 2001. SAT, Sc 8 pp. $5.50. Smaller ensembles with fewer resources The carols are scored for voice or a solo Myriad opportunities exist for recorder should also enjoy this arrangement, al- instrument with keyboard and/or groups to perform during the Christmas though they might want to perform fewer recorder, viol, or string ensemble with the season, so finding appropriate, enjoyable music is always an adventure. The Kala- mazoo Recorder Players (KRP) had the op- portunity to perform from these new arrangements, and would like to share their impressions with other recorder groups looking for music. From the Loux Music Company comes both a new collection of carols and a new series of French carols. The new collec- tion, A Songbook of French Carols, features three pieces: “Il est né, le divin Enfant,” “Célébrons las Naissance,” and “Venez, bergers.” “Il est né” is the most appropriate piece from the collection for a larger group such as the KRP. It is scored for voice, SATB recorders, and tambourine with optional
November 2003 33 MUSIC REVIEWS (cont.)
possibility of using percussion. Each edi- the occasional substitution of the basso tion includes both French and English continuo lines for the bass recorder part texts. Parts included are a score without and with a few other note changes as well. text, two vocal parts with keyboard ac- While some of these changes are orna- companiment, and a full set of instrumen- mental additions, a few of them are wrong tal parts, with both soprano and alto parts notes. The parts are very readable with no for the second line plus alto clef parts for page turns, and parts are provided in ei- the two tenor lines. As was true with ther octave for the alto line. A Songbook of Carols, the parts are well Since there are only a few breath marks laid-out and easy to read, with only two in this edition, it would be worthwhile to minor annoyances. For one, the optional consult an Urtext edition of these chorus- percussion parts are only on the score. es for punctuation, or to consult a vocal Second, two of the parts are printed on the edition if an Urtext edition is not available. insides of the front and back covers. If one So much of what makes Bach’s choruses cuts the cover apart to use those parts, distinctive is the phrasing, and his exten- there is no longer a cover to hold the com- sive use of weak cadence endings makes plete set. The two editions in La Tabatière à SAT recorder trios will Musique series sent to KRP for review were Voici Trois Bohémiens (Wise Men Come appreciate Ronald J. From the East) and Noël des Oiseaux (Car- ol of the Birds), both of which we found to Autenrieth’s creative be pleasant arrangements of these carols. arrangements of the Voici Trois Bohémiens has three verses that can be done either with or without a Baroque compositions singer. An optional second tenor recorder featured in Weihnachtlich part is provided that doubles the melody—apparently true of all the edi- Trios für Blockflöten. tions in this series. This augmentation of the basic SATB instrumentation does en- that phrasing less than obvious in an in- rich the sound and can be used for variety. strumental edition with limited phrase Variety could also be added by having markings. The members of the KRP were the singer sing one of the verses with only not pleased at first with the difficulty of keyboard accompaniment. Noël des properly leaving a space after these weak Oiseaux has seven verses with three differ- endings, but they recognized the differ- ent settings; by using the ideas suggested ence such phrasing made in the liveliness above, ample variety can be achieved. Ac- of the final result. Although one misses the complished bass recorderists will particu- instrumental interludes and instrumental larly enjoy the active part provided for accompaniments that are part of the origi- them in the seventh verse. nal choruses, these arrangements provid- The Two Festive Choruses were a partic- ed an interesting challenge without being ular favorite of the KRP, for there is nothing overwhelming. For the non-singers in the like the joy of performing music by Johann group, it was a wonderful opportunity to Sebastian Bach. The two choruses includ- experience Bach choruses, and the fin- ed in this collection are “Höchster, schau ished product was satisfying to all. in Gnaden an” from Bach’s Cantata for SAT recorder trios will appreciate Christmas Day (BWV 63) and “Man Singet Ronald J. Autenrieth’s creative arrange- mit Freuden vom Seig” from his Cantata ments of the Baroque compositions fea- for Michaelmas (BWV 149). To create this tured in Weihnachtlich Trios für Blockflöten SATB recorder arrangement, Charles (Christmas Trios for Recorders). Nagel used Bach’s SATB choral parts with The chorale preludes by Baroque organists
34 American Recorder Johann Pachelbel and Friedrich W. Zachow are contrapuntal in nature and ARS Membership Enrollment and Renewal are arranged from organ compositions Please enroll/renew me as a member of the Society. I’m looking forward to: where a three-part texture predominates. ✰ American Recorder, ARS Newsletter, and the ARS Members’ Directory The same is true of Franz Xaver A. ✰ Members’ Library musical editions Murschhauser’s theme and variation ✰ Eligibility for the ARS Education Program examinations treatment of “Gegrüßest seist du, o Je- ✰ Discounts to some recorder workshops and on ARS publications sulein.” The more homophonic “Ich steh ✰ Mailings from suppliers of materials, music, instruments. (ARS list is made an deiner Krippen hier” appears as a available only to purveyors of goods and services for recorder players.) hymn tune with basso continuo by J.S. ✰ Information on all aspects of playing the recorder Bach in Schemelli’s Gesangbuch. Since U.S./Canadian membership: ❏ one year $40; ❏ two years $75 this originally consisted of only two parts, Foreign membership: ❏ one year $50; ❏ two years $95 the arranger created a third line using nor- U.S./Canadian Student* membership: ❏ one year $20; ❏ two years $40 mal Baroque practice, briefly varying the Foreign Student* membership: ❏ one year $25; ❏ two years $50 texture by using only the original two *Enclose proof of full-time enrollment. lines. Workshop membership: ❏ one year $60; Business membership: ❏ one year $120 Throughout these arrangements, Aut- ❏ enrieth deals creatively with the problems Address and/or phone information has changed in past year. ❏ Do not list my name in Directory. that arise in matching ranges to an SAT trio. One wishes, however, that his imagi- All dues paid in U.S. funds by check on U.S. bank, or by international money order. native solution to the range problem at Family members residing at the same address may share a membership. However, the student rate is not applicable to a shared family membership. For an additional the end of Zachow’s “Vom Himmel hoch” listing in the ARS Directory under different surnames at the same address, add $5. had included the use of the tonic as the Please check to be included on the ARS list of last note of the bottom line, which was ❏ Recorder teachers and/or ❏ Professional performers. (Since your recorder activi- true in the original. ties may change, you must indicate on each renewal if you want to continue to be All of the pieces included in this col- listed.) lection are reasonably short and are acces- ❏ I wish to contribute $______to help sustain the work of the Society. sible to a fairly competent intermediate ensemble. Less experienced players could Please charge my dues/donation to my VISA/MASTERCARD: #______Exp. Date: ______play the soprano parts in the Bach and Cardholder’s signature______Zachow chorale preludes, and, on the NAME______PHONE (______)______tenor, the bottom line on Murschhauser’s ADDRESS ______theme and variations. In fact, with an oc- ______E-MAIL ______tave change of the low C, the same bottom CITY______STATE ____ ZIP/POSTAL ______line could be played by an inexperienced CHAPTER/CONSORT AFFILIATION, IF ANY:______alto recorder player. The editorial notes included with this OPTIONAL INFORMATION: collection are particularly appreciated, Chapter officer or committee member? ❏ ❏ ❏ since many of the original settings are not Yes (officer/committee: ______) No Have served chapter in past very well-known. Age: _____ For how many years have you played the recorder? _____ Judith Whaley and Level of recorder playing: ❏ Amateur ❏ Semi-professional ❏ Professional the Kalamazoo Recorder Players Annual income: ❏ Under $10,000 ❏ $10,000-30,000 ❏ $30,000-50,000 ❏ $50,000-75,000 ❏ $75,000-100,000 ❏ Over $100,000 Judith Whaley is the music director of the Portion of your income derived from music: ❏ All ❏ Some ❏ None Kalamazoo Recorder Players, a part-time Portion of music income derived from the recorder? ❏ All ❏ Some ❏ None faculty member at Kalamazoo College, and a If all or some, what kind of recorder activities are involved? (Check all that apply.) former ARS Board member, where she served ❏ Teach privately ❏ Teach/lead workshops ❏ Teach elementary school music as Vice President and chair of the ❏ Performance ❏ Recorder maker ❏ Musical director/coach Education Committee. ❏ Other ______What type of recorder music do you play? (Check all that apply.) ❏ Medieval/Renaissance ❏ Baroque ❏ Modern/pop ❏ Folk ❏ Solo ❏ Recorder Orchestra ❏ Chamber music with other instruments (such as KEY: rec=recorder; S’o=sopranino; S=soprano; trio sonatas) ❏ Broken consort with other instruments (such as a collegium) A=alto; T=tenor; B=bass; gB=great bass; cB= contra ❏ Consort involving three or more recorders playing one-on-a-part ❏ Grand consort bass; Tr=treble; qrt=quartet; pf=piano; fwd= fore- word; opt=optional; perc=percussion; pp= pages; (format used in many chapter meetings, with several recorders playing on each part) sc=score; pt(s)=part(s); kbd=keyboard; bc=basso continuo; hc=harpsichord; P/H=postage and han- AMERICAN RECORDER SOCIETY dling. Multiple reviews by one reviewer are followed by P. O. Box 631, Littleton, CO 80160-0631, U.S.A. that reviewer’s name. Fax (with handset down) or call in credit card renewals to 303-347-1181
November 2003 35 MUSIC REVIEWS ARS PUBLICATIONS (cont.) Erich Katz Contemporary Music Series Members Non-Members Suzanne M. Angevine, A Short Tale for two basses (Level II) (2 scores) $ 5 $ 8 Peter Ballinger, Double Quartet for Recorders (Level II-III) (score & parts) $10 $18 Anthony Burgess, Sonatina for Alto Recorder and Piano (Level II) (2 scores) $7 $12 Cecil Effinger, Dialogue and Dance (SATB) (Level II-III) (score & parts) $10 $18 Lee Gannon, Sonatine for three altos (Level III) (score & parts) $14 $26 (score, parts & demo cassette) $23 $43 SINFONIA NO. 13 IN A MINOR (BWV Erich Katz, Suite of Jewish Folk Tunes (S S/A8 A/T) (Level II) (three scores) $10 $18 799) BY J. S. BACH, ARR. ALYSON LEWIN. Vaclav Nelhybel, Six Short Pieces for Three Recorders, (AA/TT) (Level II) edited by Alan Drake (3 scores) $8 $14 Hawthorns Music RS 101 (Magnamusic), Stanley W. Osborn, Kyrie and Vocalise for soprano voice and recorders 2001. SAB. Sc 3 pp, pts 1 p each. $8. (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14 Frederic Palmer, Entrevista (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14 TRIO SUPER HERR JESU CHRIST Sally Price, Dorian Mood (SATB) (Level II) (score & parts) $10 $18 (BWV 655) BY J. S. BACH, ARR. Jeffrey Quick, Picnic Music (SATB) (Level II) (score & parts) $ 5 $ 8 LAYTON RING. Hawthorns Music RA 165 Musical Editions from the Members’ Library: ARS members: 1 copy, $3 2 copies, $4.50 3, $6 4, $7.50 5, $10 6, $11.50 (Magnamusic), 2002. ATB. Sc 8 pp, pts Non-members (editions over 2 years old): 1 copy, $5 2 copies, $8.50, 3,$12 4,$15 5, $19.50 6, $23 2 pp each. $9.50. The ARS is happy to provide photocopied enlargements of any Members’ Library edition at the same prices. Please specify “Members’ Library Enlargement.” * = Editions not yet available to non-members. TRIO SUPER ALLEIN GOTT (BWV Bruckner’s Ave Maria (arr. Jennifer W. Lehmann) Serie for Two Alto Recorders (Frederic Palmer) 664) BY J. S. BACH, ARR. LAYTON RING. Canon for Four Bass Recorders (David P. Ruhl) Slow Dance with Doubles (Colin Sterne) Hawthorns Music RA 152 (Magnamusic), Dancers (Richard Eastman) *Sonata da Chiesa (Ann McKinley) Different Quips (Stephan Chandler) Three Bantam Ballads (Ann McKinley) 2002. ATB. Sc. 8 pp, pts 2 and 3 pp each. Elegy for Recorder Quartet (Carolyn Peskin) Three Cleveland Scenes (Carolyn Peskin) $9.50. Elizabethan Delights Tracings in the Snow *Gloria in Excelsis (Robert Cowper) in Central Park (Robert W. Butts) As indicated helpfully by the editor, *Imitations (Laurie G. Alberts) Trios for Recorders (George T. Bachmann) this Sinfonia is a three-part exercise in Los Pastores (arr. Virginia N. Ebinger) Triptych (Peter A. Ramsey) New Rounds on Old Rhymes (Erich Katz) Two Bach Trios (arr. William Long) strict counterpoint, one of a set of 15 key- Other Quips (Stephan Chandler) Two Brahms Lieder (arr. Thomas E. Van Dahm) board pieces Bach wrote in 1723 while Poinciana Rag (Laurie G. Alberts) *Variations on “Drmeš” (Martha Bishop) Kapellmeister at the Cöthen court. These Santa Barbara Suite (Erich Katz) Vintage Burgundy Sentimental Songs (arr. David Goldstein) pieces were intended for his 12-year-old ARS Information Booklets: son, Wilhelm Friedrich, as teaching mate- ARS members: 1 booklet, $13 2 booklets, $23 3, $28 4, $35 5, $41 6, $47 7, $52 rial. The two Trios are chorale preludes Non-members: 1 booklet, $18 2 booklets, $33 3, $44 4, $55 5, $66 6, $76 7, $86 from Bach’s collection, 18 Chorales. They Adding Percussion to Medieval and Renaissance Music (Peggy Monroe) American Recorder Music (Constance Primus) paraphrase Lutheran hymn tunes, intro- The Burgundian Court and Its Music (Judith Whaley, coord.) ducing the cantus firmi in full in the bass Improve Your Consort Skills (Susan Carduelis) Music for Mixed Ensembles (Jennifer W. Lehmann) part towards the end of each prelude. Playing Music for the Dance (Louise Austin) (By the way, matching chorales, Recorder Care (Scott Paterson) BWV332 and BWV104, are easily avail- Education Publications able on the web site
36 American Recorder native octaves are given for high notes on sonatas is the David Lasocki/Walter and splendor.” Bass octavation (doubling the tenor, and there is a breath-eating, sus- Bergmann edition of 1979 (Faber, notes in the left hand by adding the octave tained concluding C for the bass. rev.1982). These editors have made an ex- below), the addition of unfigured suspen- The tenor part has an awkward page haustive study of the sources, both print- sions, turning the accompanying right turn (but it is a one-handed note), and the ed and manuscript, and given us what hand part of the harpsichordist into an ob- alto part also requires a prompt turn. The they say in the preface is “an attempt to bligato third voice, even the use of tasto so- upper two voices of the trio on Herr Jesu present these six sonatas as the composer lo are among his unconventional, but cer- intended them.” The research is carefully tainly not incorrect, bag of tricks. Oddly, Christ require a lot of finger action; the explained in the critical notes, and all pos- Michel does not print these sonatas in bass line, though less active, remains in- sible variants are given in the score. their usual order, but since that was the or- teresting. To balance this soprano and alto In addition, Walter Bergmann’s contin- der used by Walsh (Handel’s original pub- duet, we think that doubling the bass, or uo realization is my favorite. Continuo re- lisher), not Handel, it may not matter. perhaps playing it on a stringed instru- alizations vary considerably from score to But whence comes yet another “schol- ment (at least for the chorale section), score. His realizations tend to be more arly” edition of the Handel recorder would offer a contrast of timbres that is imaginative and less ponderous than sonatas? In 1955, as part of its new edition structurally reinforcing. many. The only thing wrong with this edi- of Handel’s complete works, Bärenreiter- Barbara Duey, Jean Hopkins, and tion is a terrible problem with page-turns Verlag put out a deeply flawed edition of Suzanne Niedzielska collaborated on this for the keyboard player. Eleven Sonatas for Flute and Figured Bass, review. Each has played recorder for over 20 among which are four of the familiar sonatas for recorder. The “big” D minor years, and has attended numerous recorder But whence comes yet workshops taught by distinguished profes- and B major sonatas, the so-called sional recorder faculty. another “scholarly” “Fitzwilliam” sonatas, are missing, al- though bits and pieces of the D minor ap- pear in other sonatas. The editor, Hans- COMPLETE SONATAS FOR edition of the Handel Peter Schmitz, uses unreliable sources RECORDER AND BASSO CONTINUO, recorder sonatas? (mainly the Friedrich Chrysander edition BY G. F. HANDEL, ED. TERENCE of 1879), and there are many errors. In an BEST. Bärenreiter BA 4259 (
November 2003 37 MUSIC REVIEWS Provincetown Bookshop Editions (cont.)
JUST OFF PRESS! 8 DANISH & SWEDISH FOLKHYMNS ed. for 4 recorders (SATB and AATB) This is a fine recorder edition. Best by Joel Newman gives us his sources in a much more con- (PBEd. No. 43; 4 Playing Scores) ...... $7.95 cise fashion than Lasocki/Bergmann, as well as critical notes that are succinct and clear. He does not give variants. I could Ingratiating tunes and rhythms in rich harmonic settings; wish that he had made up his own con- a companion to our NORWEGIAN FOLKHYMNS, tinuo realizations to the “original four” both intended for “young” ensembles. sonatas, instead of relying on Hans-Peter Schmitz, but perhaps that was part of the agreement. Page turns are well-planned A good source for Recorder & Viol Music of all publishers. and easy for all of the performers. The Provincetown Bookshop, Inc. Let’s hope that this is the final “schol- 246 Commercial Street, Provincetown, MA 02657 Tel. (508)487-0964 arly edition” of the Handel recorder sonatas. I do not see a need for any more! Martha Bixler
SONATA IN F MAJOR AFTER TRIO IN F (TWV 42:F9), BY GEORG PHILIPP TELEMANN, ARR. ANDREW ROBINSON. Dolce 260 (Magnamusic), 2001. A kbd, Sc 10 pp, pt 5 pp. $7. SONATA IN G MINOR AFTER TRIO IN G (TWV 42:G9), BY GEORG PHILIPP TELEMANN, ARR. ANDREW ROBINSON. Dolce 261 (Magnamusic), 2001. A kbd, Sc 10 pp, pt 4 pp. $7. SONATA IN C MAJOR AFTER TRIO IN C (QV 2:2), BY JOHANN JOACHIM QUANTZ, ARR. ANDREW ROBINSON. Dolce 262 (Magnamusic), 2001. A kbd, Sc 15 pp, pt 5 pp. $8. SONATA IN F AFTER THE TRIO FOR BASS RECORDER, VIOLA (OR BASSOON) AND CONTINUO (H588/9), BY CARL PHILIP EMANUEL BACH, ARR. ANDREW ROBINSON. Dolce 263 Beatin’ Path Publications (Magnamusic), 2001. B or A kbd, Sc 12 pp, pts 5 pp ea. $7. Music That Works! Dolce Edition’s editor/arranger An- drew Robinson has given us a real treasure Robert Amchin with these four editions! Originally they Alto Antics ensembles for beginning alto recorder with percussion accompaniment were composed as trio sonatas for Recorder Frolics for beginning C-pipes (Play-along CD available) recorder with another instrument and Moods and Modes for intermediate classroom ensembles: includes play-along CD continuo: Telemann’s Sonata in F Major Brent M. Holl and Michael R. Nichols called for an oboe and his Sonata in G Mi- The Beatin' Path Consort Collection for beginning and intermediate ensemble nor for a dessus de viole (treble viol), both Michael R. Nichols with alto recorder; Quantz’s Sonata in C Christian Harmony Sacred Harp (Shaped Note) music arranged for SATB consort Major combined the alto recorder with a See our online catalogue of Church, transverse flute; and Carl Philip Emanuel 302 East College Street choir, Orff and recorder music at: Bach’s Sonata in F was scored for bass Bridgewater VA22812 www.beatinpathpublications.com recorder and viola (or bassoon). Following 540-478-4833 or visit your favorite music dealer the practice of J. S. Bach, who arranged some of his trio sonatas for solo instru-
38 American Recorder ment with obbligato harpsichord, Robin- followed by a somber “Larghetto,” which, CHRIST LAG IN TODESBANDEN son has arranged these pieces for recorder according to Quantz, would benefit by the (3 SETTINGS FROM 1524/1544), BY solo, giving the second instrument’s part addition of little “graces.” The final move- LUPUS HELLINGK, ARNOLD VAN BRUCK, to the right hand of the keyboard. Addi- ment is a frilly “Vivace” in 3/8 with many AND JOHANN WALTHER, ED. BERNARD tional harmonies are added in optional ornamental thirty-second notes. THOMAS. London Pro Musica EML 379 small notes, and figures are included in Robinson worked directly with the (Magnamusic), 2001. Four voices or the keyboard score. Although historically manuscript source for his arrangement of instruments, 4 scores 8 pp each. $7.50. a bass instrument was often added to this work. In his introduction, he notes These three settings of “Christ Lag in Baroque sonatas, no separate continuo the ambiguity of the slurs in the original Todesbanden” come from publications is- part in included in these editions. and shows possible interpretations. Seri- sued in 1524 and 1544, near the begin- The prolific Telemann composed a ous students should also refer to Quantz’s ning of a long line of settings of Lutheran number of trio sonatas that specified important treatise, On Playing the Flute chorale melodies. Interestingly, as Bernard recorders, including several for two (modern edition, ed. Reilly, publ. Faber) Thomas points out in his notes, van Bruck recorders and continuo as well as those for for the composer’s own suggestions on and Hellingk were Catholic and probably one recorder with a contrasting instru- tonguing, breathing places, ornamenta- made their settings on commission from ment. Concerning his trio sonatas, he tion, and other matters of interpretation. the publisher Georg Rhau. Walther’s set- wrote: “…I arrange them in such a way This is not an easy piece for either player, ting is the most straightforward, really a that each part has as much to do as the but well worth whatever practice and re- mildly decorated chorale-style setting others.” This is evident in the two sonatas hearsal time it might take to perfect. with the melody in the tenor. The other reviewed here. The G Minor begins with a Robinson’s arrangement, Sonata in F, two are more substantial motet-style “Soave ma non Adagio” movement, fol- of Carl Philip Emanuel Bach’s trio for bass settings, the Hellingk running to almost lowed by a “Vivace,” a “Largo,” and a final recorder, viola or bassoon, and continuo is 100 bars. “Allegro.” As with most of Telemann’s mu- a real gem! It gives bass recorder players a “Christ Lag in Todesbanden” is a very sic intended for recorder, this fits so well rare opportunity to play fast and expres- characteristic melody, familiar to many as that it sounds more difficult than it is. sively. (An alternative part is included for a hymn and from its use in Bach’s Cantata The same applies to the F Major sonata, those who prefer to play it on alto which is even more accessible because of recorder.) C.P.E. Bach (1714-1788) was its key. Its opening “Allegro” consists of employed at the court of Frederick the running sixteenth notes and triplets. In Great at the same time as Quantz, but it is “Christ Lag in the “Affettuoso” that follows, the recorder not known for whom or why this rare late Todesbanden” is a very and harpsichord play in contrasting coun- piece calling for bass recorder was com- terpoint. The last movement, “Presto,” is a posed. Robinson writes in his notes that characteristic melody, fun romp for both instruments. Recorder this trio was one of C.P.E. Bach’s favorite familiar to many as a players should heed the advice by J. J. pieces, and he later transposed it for other Quantz to study Telemann’s trio sonatas, combinations of instruments. hymn and from its use in now available in these practical editions. The bass recorder part ranges from low Bach’s Cantata No. 4, so Music combining recorder with F to high D but lies mainly in the upper Baroque flute is rare and difficult to com- compass. In the first movement, “Un poco it is rewarding to hear the pose because the timbres of these instru- Andante,” the three parts interact in grace- melody as it appears and ments are so similar, yet so different. Jo- ful counterpoint. The motifs in the second hann Joachim Quantz (1697-1773), the movement, “Allegretto,” are in sixteenth reappears in the motets. flute teacher of King Frederick the Great of notes interspersed with triplets and some Prussia, succeeded beautifully in this chal- syncopated figures. The last movement, No. 4, so it is rewarding to hear the melody lenge with his Trio in C (QV2:2). In Robin- “Allegro,” contains ornamental figures in as it appears and reappears in the motets. son’s arrangement, retitled Sonata in C stepwise sixteenths and triadic triplets These settings are intended for voices, Major, the subtleties of the contrast be- that play around between the two upper but the level of rhythmic activity is such tween the original two instruments are parts. As in the work previously reviewed, that an instrumental performance also lost by giving the flute part to the key- performers should consult Quantz’s trea- makes quite a good effect. Even a begin- board, but it remains a delightful piece. tise or a good modern guide for interpreta- ning ensemble would be able to negotiate The opening “Affettuoso” requires skillful tion of the ornaments and the galant style. Walther’s arrangement (which would articulation by both performers to imitate These editions are well-printed, but work well in an SATB scoring), while in- dynamic nuances required in the galant the publisher could have taken more care termediate groups would find the motets style. The second movement, “Alla breve,” in planning for page turns. The harpsi- comfortable (ATTB with the alto reading challenges the recorderist’s fingering, chordist often must turn during keyboard up the octave). The loose score pages are tonguing, and breathing techniques in solos or important parts, so a page-turner cleverly printed to eliminate page turns. non-stop passages of broken chords up to would be a help for smooth performance. Scott Paterson eleven measures long. This movement is Constance M. Primus
November 2003 39 CHAPTERS
______& CONSORTS ______Floating along with Handel, ______articulating in the dark, and remembering
courtesy of music teacher Erin Zucker). After Seattle, WA. Moss Bay forms a part of the the quartet played, the students played for waterfront area of Kirkland, where the them on their neon-colored recorders. chapter started and where many chapter Both chapter events received newspa- meetings have been held. per coverage, with photos of chapter Marge McNutt reports on the success members appearing in the Petoskey News- of an August master class and workshop Review., and an article describing the led by Lisette Kielsen for the Aeolus school visit. Apparently less newsworthy Recorder Konsort (ARK) in Little Rock, was a Wednesday evening play-in when AR. Following an afternoon of private les- chapter members assembled on a float- sons, nine players participated in a Friday The End of Summer... boat to play Handel’s Water Music on Wal- evening master class, and 22 players from Orange County (CA) Recorder Soci- loon Lake (see photos at upper left). three states spent Saturday playing in ety members Lori McAfee and Lois Shep- Two events traditionally end the year energetic imitation during their day-long pard—performing, along with David Con- for the Moss Bay (WA) Recorder Soci- study of canons.For a list of musical selec- rad, as The Sandpipers—entertained the ety: the Moss Bay Meet in April, and the tions used in the workshop, see audience of the Long Beach Shakespeare annual joint May meeting with the
40 American Recorder family and some friends from outside the modern “Squarpent” makes no attempt to Chicago area were also in attendance, with approximate the curvy shape of the histor- CHAPTER NEWS David’s grandchildren picking up percus- ical serpent instrument, it could give those Chapter newsletter editors and publicity sion instruments to play along with the interested in purchasing one of the expen- officers should send materials chapter members. sive instruments an alternative way to to the following addresses: American Recorder, 7770 South High St., The Chicago chapter welcomes any ad- learn fingerings while saving money to buy Centennial, CO 80122-3122. ditional tributes from other recorder play- one. Next on the drawing board: the “Box- by e-mail
November 2003 41 TIDINGS (cont.)
Telemann fantasias. It was particu- larly gratifying to hear her play the Telemann, because Fantasia No. 1 was a piece she critiqued in her master class. When not attending the work- shops or concerts, participants could sit in on two master classes taught by Ms. Verbruggen. She is al- ways an inspiration to watch— doing her best to put nervous par- ticipants at ease, but at the same time suggesting, cajoling, and demonstrating. I’m always amazed how forded the festival from icons of main- quickly most of the subjects leave the ses- stream Canadian society. For example, the sion playing the piece better than when Canadian Broadcasting Corporation fine editions of early & contemporary music they arrived. From the safe spot as auditor, recorded all the concerts and will air them PRB PRODUCTIONS one also leaves with valuable suggestions on the radio in the near future. The artists Peralta Avenue, Albany, CA for one’s own playing, regardless of how were interviewed by the CBC in depth, -- -- Phone: Fax: far away one is from being as competent as and participants were also canvassed by E-mail: [email protected] the radio producer for their views on why Web: www.prbmusic.com the brave souls who sign up for the master class. playing the recorder is such a rewarding There was a youth workshop led by Ms. Bergsma and a musical theater per- formed by four young actors and the As an American, coming recorder quartet Flûte alors. The musical from a country where theater event, An Episode From the Annals of Scientific Inquiry or Professor Yebudgralov most people think a and his trustworthy assistant Nescio, turned recorder is a machine for out to be a captivating prodiction. The wit- ty and funny text written by young preserving sounds, I was recorder player Andrew Levy from Berke- especially impressed with ley, CA, proved to be an ideal counterpart to Béla Bartók’s music taken from the Mi- the attention afforded the crocosmos and arranged for recorder quar- festival from icons of tet by Maute. Four young actors and the mainstream Canadian recorder group Flûte alors presented a spectacular show that pleased the crowd society. of recorder friends (see photo, above right). It also showed the fascinating new possi- activity. The Saturday night concert was bilities of the recorder in a quite unusual preceded by welcoming speeches by the context. consuls-general of Germany and The What made this festival so unique, and Netherlands, in honor of the participating so important, aside from the events de- artists from those countries. McGill Uni- scribed, was its spirit. It was a truly inter- versity donated Redpath Hall as a concert national endeavor to showcase the space. recorder as a serious instrument worthy of Thanks to Maute and Ms. Larivière, the attention of contemporary society. At and the other organizers and volunteers the same time, the comraderie that is en- who helped produce this festival, the gendered by well-directed workshops for recorder has taken a step to its rightful amateurs was very evident. place in modern society as a “serious” As an American, coming from a coun- instrument—and as a source of joy and try where most people think a recorder is community among the family of musi- a machine for preserving sounds, I was es- cians who play it, both amateurs and pecially impressed with the attention af- professionals. Priscilla Winslow
42 American Recorder ______OPENING MEASURES ______The straight scoop on vibrato
deal recorder tone is straight and pure. Throat vibrato tends to be very rapid and for long, you will already be familiar with IHowever sometimes we want to warm shallow, and, to my mind, not a pleasant this exercise. up a note with vibrato. Vibrato is used as sound (although unpleasant sounds are Choose any note on your recorder (the an embellishment to our tone, rather than also useful in music). Using the tongue to mid-range notes are easiest, then the high as an integral part of tone, as in modern in- produce vibrato disturbs articulation, one notes, while the low notes are most diffi- strument performance aesthetics. In order of our most important expressive means cult). Begin without tonguing, blowing as to do this, one must learn how to make a on the recorder, and therefore is not ideal, softly as you can. Blow gradually louder pleasing vibrato on purpose, as opposed unless you plan to slur everything. until you reach the loudest point possible to the rapid, tight involuntary vibrato That leaves what is usually referred to without squeaking, and then gradually de- some recorder players have. Anything in- as diaphragm vibrato. I think this is a mis- crease your sound until you reach your voluntary cannot be controlled and used nomer. It implies that we make the vibrato starting point. Do all this in one smooth to your own purpose. So let’s get rid of that with the diaphragm. It is hard enough to flowing breath. Make your arches as wide nasty, automatic quiver and acquire the control the diaphragm, much less make a as you can within the confines of the ability to make, at will and in a pleasing va- special movement with the diaphragm. note—stretch the bubble of the note. riety of shapes, a lovely, warm vibrato. What actually happens in what we might The involuntary vibrato is fairly com- call “low vibrato” is just a blowing louder 2. Chain of arches mon, particularly among singers and and softer, louder, softer, etc. This pro- When you are very good at playing one sometimes players of other wind instru- arch, you can begin adding more arches to ments who take up the recorder. In my ex- make a chain of them in one breath. perience it is often the result of too much We can define vibrato Choose any note and play a beautiful tension in the abdominal and diaphragm as a fluctuation in pitch arch. Play two arches in one breath, lifting muscles. These two sets of muscles work during the course of your sound up again just as you reach the opposite one another during blowing (or one note. end of the first arch, swooping up to the singing—which is just blowing through top for a second peak, then gradually ta- the vocal chords): the abdominal muscles pering off as before. push air out of the body while the di- duces a pitch fluctuation as well as a loud- Play three arches in one breath, and aphragm holds air back so it won’t all go ness fluctuation—both natural parts of vi- then four, five, six and more. Make sure out in one big Whoooosh. brato. (Interestingly, vibrato on string in- each arch is symmetrical, rising and falling You can demonstrate for yourself that struments does not include a fluctuation at the same speed. Make sure that you two muscles can work in opposition to of loudness, but only of pitch. I will have “rescue” your sound just before it dies one another, maintaining a balance of to follow bunches of other wind players away in the dip between two arches. power while using different amounts of and singers around, listening intently to The most common mistake I hear from strength: put your hands together in front their vibrato, to discover whether theirs in- those learning to make chains of arches is of you and push them gently against one cludes both pitch and loudness fluctua- that they do not let the sound decrease another. You are pushing equally with each tions. For the moment, I think we can de- enough between arches. Try to go right hand, using a minimal amount of fine vibrato as a fluctuation in pitch during down to the floor before swooping grand- strength—almost none. Now increase the the course of one note. Any comments?) ly upward again. amount of strength used in both hands. It is also interesting to realize that, Continue adding arches until you can You still maintain balance (equal strength when a musician uses vibrato as an orna- make chains of 20 or 30 arches. This will from each hand), but now the muscles on ment on a note, the vibrato becomes an or- take some weeks of regular and consistent each side work harder. If you continue to nament of intensification, and musicians practice—but, as you know, things of val- increase the strength from each hand, the will usually make a crescendo as another ue are worth the time and effort. muscles will begin to shake. I believe this part of the intensification. is what happens in the abdominal muscles 3. Varied Chains of arches and diaphragm when a recorder player Vibrato exercises Once you are able to play smooth and works too hard with both sets of mus- To learn to make vibrato, follow these regular chains of arches, each arch the cles—the shaking muscles also shake the steps. same size and shape as the last, it is time sound. Because it is caused by extreme to try varying the speed. Play a chain of muscle tension, it is not controllable. 1. The Arch arches beginning slowly and gradually in- Vibrato can be produced on purpose The most elementary exercise for de- creasing speed. Also try playing a chain of by the abdominal and diaphragm mus- veloping a good vibrato is the arch. quick arches gradually slowing down. Aim cles, by the throat, and even by the tongue. If you have been following this column to make all your arches the same height
November 2003 43 even as their speed changes. This will keep you from developing an irritating nervous vibrato. The last thing I want is for you to become irritating!
Using Vibrato Once you have mastered the mechan- ics of vibrato, you must learn to apply vi- brato in music. Choose an easy piece of music: per- haps a nice minuet or a familiar song. Play it slowly, making a vibrato on every note possible. Make some of your vibrati slow, some fast, some varied. Be sure to keep every one of them nice and wide (with tall peaks) so that your sound will remain pleasing. At first you will probably lose track of your rhythm. Keep trying: you will soon be able to think about rhythm while mak- ing a different chain of arches on each note. Do the above exercise on at least 10 different pieces of music. This will ensure that you are good at making vibrato on lots of notes before you go on to the next step. Finally, you are ready to try the real thing. Again, choose a fairly simple piece of music and just play your heart out, making vibrato here and there. Try the same tune several times, making vibrato on different notes and of different speeds each time. You will soon begin to recog- nize what you like and don’t like. Doing this with many pieces of music will develop your taste as well as your ear, and your vibrato muscles—three in one! Listen to your favorite musicians (of all Write or call for free catalogs sorts), noticing how they use vibrato. Try and specify areas of interest. out the effects that you hear. Decide where in your music you need a little more Boulder Early Music Shop intensity—this will be a good spot for vibrato. P.O. Box 428 Now I leave you on your own, to ex- Lafayette, CO 80026 plore this wonderful means of expression in music. Monday through Friday: Frances Blaker 10:00 am - 5:30 pm 1822 Powell Street Erie, CO 80516 800.499.1301 303.926.4301 Fax: 303.926.4302 E-mail: [email protected] Web: www.bems.com
44 American Recorder COMPACT DISC
______REVIEWS ______Recordings of Bach, and works from the 20th-century recorder revival
BACH & HANDEL: BAROQUE MAS- tution of a recorder for the oboe in Canta- tifully synchronized with one another—a TERS. CAROLINA BAROQUE: DALE HIGBEE, ta 21. While not unpleasant in effect, this feat impossible on any mechanized instru- DIR. Carolina Baroque CB-110 (ARS CD sort of change does significantly alter the ment played by a single musician. Club), 2002. 1 CD, 65:03. $17. composer’s original conception. In all The repertoire presented by FRQ is BACH: MUSIC TO CHALLENGE THE other respects, however, instrumental dis- representative of some of Bach’s best com- INTELLECT AND TOUCH THE position is used well to give extra color and positions in four parts, with a clear prefer- HEART. CAROLINA BAROQUE: DALE HIG- variety. ence for his fugal writing and organ BEE, DIR. Carolina Baroque CB-112 (ARS While the ensemble is quite profes- works—obvious choices for this ensem- CD Club), 2002. 1 CD, 54:39. $17. sional and often very effective in its pres- ble’s first recording of Bach. (Some would ARIAS, DUETS & BALLET MUSIC entation, these live performances are not argue that this is Bach’s best work, in any FROM HANDEL OPERAS. CAROLINA always as polished as is usually expected case.) In addition to the fugues, the reper- BAROQUE: DALE HIGBEE, DIR. Carolina on a compact disc. All three discs would toire ranges from Bach’s transcription of Baroque CB-113 (ARS CD Club), 2002. seem to be taken straight from public per- Vivaldi’s Concerto in D minor, Op. 3, 1 CD, 52:52. $17. formances with no touching up. (There No.11, to the great organ passacaglia to Carolina Baroque is an enterprising are no program notes beyond the listing of his chorale preludes. Some works appear Baroque chamber ensemble from Salis- repertoire, performers, and performance in nearly their original form—the contra- bury, NC, led by recorder player Dale Hig- venues.) Thus some slips remain and, as puncti from The Art of the Fugue, for exam- bee. These three recent recordings capture usual in such circumstances, become ple—while others have been made into performances given by the ensemble in more noticeable on repeated hearings. sensitive arrangements that sound very April and November of 2002. In fact, Bach The recorded sound is very clear and pres- much original. This is a credit to Spanhove and Handel: Baroque Masters and Bach: ent, however. and Van Goethem, who managed the sub- Music to Challenge the Intellect and Touch In the end, these discs are full of enjoy- tle reworkings, omissions, and additions, the Heart were recorded a mere seven days able and enthusiastic music making and together with key changes and imitation of apart! are worth a listen for anyone interested in organ registers, to great effect. The programs are generally of the mis- the repertoire they contain. Perhaps the most striking thing about cellaneous variety with individual arias Scott Paterson this CD is the passion that infuses the per- and selected movements from larger formances. FRQ does not take the “hands works put together to form a varied, but off” approach to Bach of which so many balanced, sequence. Bach and Handel does It’s refreshing to hear a musicians are guilty. They are not afraid to include the complete Italian Concerto of commitment to bringing use dynamics, vibrato, rubato or impro- J.S. Bach and G. F. Handel’s cantata Nel vised ornamentation. Attention to detail is dolce dell’oblio, along with selections from Bach’s music alive, rather one of the outstanding features of this en- Handel’s Rinaldo, Rodrigo and Serse, and than simply preserving it. semble’s playing. It’s refreshing to hear a movements from Bach’s gamba sonata, commitment to bringing Bach’s music BWV 1029, and flute sonata, BWV 1030, alive, rather than simply preserving it. and the famous “Sheep May Safely Graze.” BACH. FLANDERS RECORDER QUARTET. Some moments I particularly enjoyed In similar fashion, the Bach recording FRQ CD02001, 2002, 1 CD, 51:00, $18. include the refined, yet stunningly beauti- is made up of the first half of Cantata 21, One of the comments that I often hear ful, ornamentation in the Largo move- the six-part Ricercare from The Musical Of- about first-rate recorder ensemble playing ment of the Vivaldi transcription; the free- fering, and all of Cantata 182, while the is that it sounds like an organ. Of course, dom of the cadenzas in BWV 543; the Handel opera program includes excerpts what the listener is usually commenting delightful pairing of instruments in paral- from Alcina, Ariodante, Giulio Cesare in on is the flawless tuning that we come to lel in the Passacaglia; and the quintessen- Egitto, Il pastor fido, Radamisto, Rinaldo, expect from an organ. tial bass playing in so many of the selec- and Terpsicore. I’m delighted that this recording by the tions. It’s also gratifying to hear the diffi- The size and makeup of Carolina Flanders Recorder Quartet captures both culty of playing this music: while there Baroque is flexible (growing to 10 for the the impeccable tuning of an organ and the were superhuman feats of breathing, Bach program), but it centers on Higbee, essential human nature of both Bach’s tonguing and fingers, the very human soprano Teresa Radomski, and key- music and ensemble playing. This human breaths throughout the recording made it boardist Daniel Hannemann. Despite this quality means that the music on this CD is apparent that this was not one machine flexibility, some original scorings are al- full of passion and life, with individual creating this music, but four individuals tered on all three discs, such as the substi- lines that sing independently, yet are beau- with human limitations.
November 2003 45 I have to add that this recording is teurs to the instrument in those early days to this familiar music is so inventive that much more interesting—and on so many of the revival—causes it to float high above listeners will feel as if they are hearing it different levels—than The Four Seasons, like a seagull buoyed by ocean breezes. for the first time. His technique is impec- the ensemble’s last, all late-Baroque, offer- That the potential of the instrument was cable, and he is fearless in the liberties he ing. The group has obviously grown in not fully grasped does not take away from takes to express the affect concealed in very positive ways since then. I find myself either the historical or musical worth of the score. Yet, there is nothing bizarre in listening afresh to Bach, much in the same these pieces. his interpretations: underneath it all, way I have come to view musical imitation By contrast, the remaining composi- Laurin is a sensitive musician who seeks with fresh eyes (and ears) after experienc- tions are mid-century products that ex- the art in the music. Complementing ing FRQ’s Art of the Fugue program when hibit the recorder as a full-blown recital in- him exquisitely are Hanneke van Proos- they were on tour in the U.S. in 2001. strument. Paul Höffer’s Suite for Recorder dij, David Tayler, and Tanya Tomkins as The recording was made in a wonder- and Piano (1947), Henk Badings’s Sonata the continuo group. ful acoustic: sufficiently live for resonance for Recorder and Harpsichord (1957), and One curious feature of this perform- ance is the array of recorders used. Lau- without losing the details of articulation. Cyril Scott’s Aubade (1953) are complex rin plays instruments in E, G, F, E , and The recording quality is mostly excel- works for advanced players. Though con- lent—a few balance shifts occur here and servative in style, they use the instru- B , yet all of the works lay well for the there, presumably resulting from the edit- ment’s full range of expressive and techni- standard soprano recorder in C and alto recorder in F. I’ve always been skeptical ing process. These are only mildly discon- cal capabilities—stopping short of avant- certing, and not noticeable to most listen- garde practices. of Baroque recorders in E, G, and E , as ers, I suspect. All in all, it’s a wonderful Behrmann plays in a thoroughly mod- there is no documentary evidence for recording—one of a very few that make ern style, appropriate for the program, and them. The instruments that have come me proud to be a recorder player! manages the technical demands of the down to us ostensibly in those keys My only major complaint is that, at 51 large works brilliantly. Laugs and Klee- might be better explained by the vagaries minutes, it’s too short—and that’s surely mann are excellent musicians who never of pitch standards in the Baroque era. not Bach’s fault! I hope this means we can overpower Behrmann, even when the key- Nonetheless, the playing is superb, expect another stunning, yet highly per- board parts provide more substance. This making this a “must have” recording for sonal, Bach recording from FRQ in the is especially apparent in Kleemann’s love- lovers of Baroque chamber music. not-too-distant future. ly and judicious handling of the piano Thomas Cirtin The instruments played on this CD parts in the French works. were all made by Friedrich von Huene, Each CD review contains a header with some or all of the following information, as available: disc title; composer and the CD is available in the U.S. from CORELLI & CO. PARNASSUS AVENUE: (multiple composers indicated in review text); name(s) the Von Huene Workshop, 65 Boylston DAN LAURIN, REC; HANNEKE VAN PROOS- of ensemble, conductor, performer(s); label and catalog DIJ, HC, ORGAN, REC; DAVID TAYLER, THEO- number (distributor may be indicated in order to help Street, Brookline, MA 02445, 617-277- your local record store place a special order; some discs 8690 or
46 American Recorder Order your recorder discs through the ARS CD Club!
The ARS CD Club makes hard-to-find or limited release CDs by ARS members available to ARS members at the special price listed (non-members slightly higher), postage and handling included. An updated listing of all available CDs may be found at the ARS web site:
NEW LISTINGS ____CONCERTI DI NAPOLI Rebel: Matthias Maute, recorders; and REBEL. Sonatas by Mancini, Roberto ____IN NOVA CANTICA Healing Muses. Eileen Valentini, A. Scarlatti. Dorian. $17 ARS/$20 others. Hadidian, flute & recorder; Elisabeth Engan, ____ soprano; Neal Rogers, tenor; Shira Kammen, vielle, DANCING DAY Scott Reiss, Tina Chancey & Jane Hershey, recorders & other early instru- violin, harp, alto; Kit Robberson, vielle, gamba; ____POPULAR ments; Rosa Lamoreaux, soprano; Mark Cudek, David Tayler, lute, Baroque guitar. A Christmas cele- MUSIC OF THE lute & citern; Joshua Lee & Daniel Rippe, bass viol bration: Medieval and traditional carols, chansons RENAISSANCE, Anne & Rob Burns play recorders, & percussion. Medieval, Renaissance and tradi- and festive dances from the 13th-17th centuries. cittern, guitar, straw fiddle, drums, whistles, pipes. tional Christmas music, spanning 500 years, from Healing Muses. $17 ARS/$20 others. Second From the Bottom. $17 ARS/$20 others. the British Isles, Italy, France, Spain Germany and ____ENSEMBLE PIACERE 2002 Ensemble ____ SACRED & SECULAR CANTATAS OF J. S. Piacere. Maria Brojer, soprano; Irmtraut Freiberg, America. Koch International. $17 ARS/$20 others. ____DREAMS INSIDE THE AIR TUNNEL BACH. Carolina Baroque. Dale Higbee, recorders; recorder, harpsichord, organ, rankett; Eva Maria Zana Clarke, recorder & composer. “Drawing on the Teresa Radomski, soprano; John Pruett & Doris Kaukel, recorder & organ; Eva Mock, guitar. music of the didjeridu & shakuhachi...beautiful & Powers, violin; Mary Frances Boyce, viola; Selina Sparkling performances of works from the hypnotic...”—American Recorder. Orpheus Music. Carter, ’cello; Daniel Hannemann, harpsichord & Renaissance to the 20th century by Frescobaldi, $17 ARS/$20 others. organ. Live performances of three cantatas, BWV Ortiz, Telemann, Fux, Keil and many others. ____FOLIAS FESTIVAS Belladonna Baroque Quartet. 82a, BWV 202, BWV 209. $17 ARS/$20 others. Ensemble Piacere. $17 ARS/$20 others. Cléa Galhano, recorders.16-17th-century music by ____A. SCARLATTI: CONCERTI DI CAMERA Judith ____BACH ARIAS, DUETS AND CHAMBER Falconieri, de Tafalla, Merula, others. Dorian. $17 Linsenberg, recorders; Musica Pacifica. Seven sona MUSIC Carolina Baroque. Dale Higbee, recorders; ARS/$20 others. tas, various instrumentations. $17 ARS/$20 others. Teresa Radomski, soprano; John Williams, ____FRUIT OF A DIFFERENT VINE Alison Melville, ____SOMETHING OLD, SOMETHING NEW John bass/baritone; John Pruett, Baroque violin; Holly Natalie Michaud & Colin Savage, recorders; A. Hall, Tyson, recorders, with Renaissonics. Baroque & con- Maurer, gamba, Daniel Hannemann, harpsichord & piano. Works by Hindemith, Berkeley, Leigh, temporary music. Titanic. $17 ARS/$20 others. organ. Recorded live in 2003, this CD features Bach Staeps. 1994 ARS Professional Recording Grant ____SONGS IN THE GROUND Cléa Galhano, cantatas and other works, including Cantata BWV CD. S.R.I. $17 ARS/$20 others. recorder, Vivian Montgomery, harpsichord. Works by 140, Wachet auf. $17 ARS/$20 others. ____THE GREAT EMU WAR Batalla Famossa, a Pandolfi, Belanzanni, Vitali, Bach and contemporaries young ensemble, with first CD of Australian recorder Thomas, Morrison and Setti, featuring songs based on IN STOCK (Partial listing) music. Orpheus Music. $17 ARS/$20 others. grounds. 10,000 Lakes. $17 ARS/$20 others. ____THE AGE OF JOSQUIN: THE GRAND TOUR SUZUKI RECORDER SCHOOL (Four vols.) ____HANDEL: THE ITALIAN YEARS Elissa ® Highland Park Recorder Society & Chamber Berardi, recorder & Baroque flute; Philomel Recordings to accompany the Suzuki Recorder Orchestra, Robert W. Butts, conductor. Baroque Orchestra. Handel, Nel dolce dell’oblio & School method books, with Marion Verbruggen, RWB Productions. $17 ARS/$20 others. recorders. $17 ARS/$20 others, for each single CD, or Tra le fiamme, two important pieces for obbligato ® ____AIRES AND DUETS FOR TWO FLUTES AND recorder & soprano; Telemann, Trio in F; Vivaldi, $33 ARS/$40 others for any two Suzuki CDs: BASS Vicki Boeckman & Dorte Lester Nauta, recorder; All’ombra di sospetto. Dorian. $17 ARS/$20 others. ____Vols. 1 & 2 for Soprano or ____Vols. 1 & 2 for Alto Mogens Rasmussen, gamba; Viggo Mangor, archlute ____IMAGINE II David Young, recorders. More con- (Vols. 1 & 2: folk & children’s songs, Baroque dances) & chamber organ. Trio sonatas by Handel, Telemann, temporary interpretations of classic songs from the ____Vols. 3 & 4 for Soprano: Handel, de la Guerre, others Braun, Merula, Rossi. Primavera. $17 ARS/$20 others. 1970s by Neil Young, Jim Croce, Carole King, and ____Vols. 3 & 4 for Alto: Handel, J.S. Bach, Purcell, others ____ ARIAS, DUETS & BALLET MUSIC FROM Moody Blues. Universe Music. $17 ARS/$20 others. ____TELEMANN ALLA POLACCA REBEL, with HANDEL OPERAS Carolina Baroque. Dale ____JOURNEY Wood’N’Flutes (Vicki Boeckman, Matthias Maute, recorders & traverso, play concerti Higbee, recorders. Live recording of a variety of Gertie Johnsson & Pia Brinch Jensen, recorders). and suites by G.P. Telemann. . $17 ARS/$20 others. excerpts from operas of Handel, including Alcina Works by Dufay, Machaut, Henry VIII, Mogens ____TELEMANN: CHAMBER CANTATAS AND TRIO and Giulio Cesare in Egitto. $17 ARS/$20 others. Pederson, W.W. Van Nieuwkerk & Maute—seven SONATAS Judith Linsenberg, recorders; Christine ____ BACH & HANDEL: BAROQUE MASTERS centuries. Kadanza Classics. $17 ARS/$20 others. Brandes, soprano, Jennifer Lane, mezzo-soprano, Carolina Baroque. Dale Higbee, recorders. Excerpts ____LANDSCAPES David Bellugi, recorders; Ali members of Musica Pacifica. Five cantatas from from several of the masters' operas and cantatas, Tajbakhsh & Chris Hayward, percussion. “Virtual” Harmonischer Gottesdienst, plus two trio sonatas from recorded in 2002 concert. $17 ARS/$20 others. recorder orchestra created by Bellugi. Three centuries Sonatas Corellisantes. Dorian. $17 ARS/$20 others. ____ BACH: MUSIC TO CHALLENGE THE of ethnic music by Encina, Brouwer, Ortiz, Bartok. ____TRIO ATLANTICA Lisette Kielson, recorders; INTELLECT AND TOUCH THE HEART Carolina Frame. $17 ARS/$20 others. Julie Elhard, gamba, Paul Boehnke, harpsichord. Baroque. Dale Higbee, recorders. Cantata No. 21, ____LES AMIS DU BAROQUE Paul Nauta, recorder Works by Bach, Telemann, Montéclair, Leclair. Trio Part One; Cantata No. 182. $17 ARS/$20 others. & Baroque flute; Koen Dieltiens, recorder; Jan de Atlantica. $17 ARS/$20 others. ____BLOCKFLOETENENSEMBLE WIEN Winne, Baroque flute; Christina Mahler, ’cello; Shalev ____ VIVALDI: LA NOTTE Concerti per strumenti Irmtraut Freiberg, Karin Heinisch, Susanne Jurdak, Ad-El, harpsichord & organ. Music by Bassani, Corelli, diversi. Judith Linsenberg, recorder; Musica Pacif- Eva Maria Kaukal & Prisca Loeffler, recorders. Vivaldi, etc. Highlight Intl. $17 ARS/$20 others. ica. Award-winning CD, featuring five Vivaldi con- Ensemble music for three-five players; works by ____MANCINI: CONCERTI DI CAMERA Judith certi, two sonatas. Dorian. $17 ARS/$20 others. J.Chr. Demantius, J. Hilton, M. Kaeser, Monteverdi, Linsenberg, recorders; Musica Pacifica. Seven Morley, Mozart, W. W. van Nieuwkerk, Pachelbel, Mancini sonatas, plus works of Durante, D. Scarlatti. Please indicate above the CDs you wish to order, Reichardt, Schermann. $17 ARS/$20 others. “Highly recommended” citation, 2000 Vivaldi Prize, and print clearly the following: ____CHARLESTON PRO MUSICA ON TOUR Giorgio Cini Foundation. Dorian. $17 ARS/$20 others. Name ______Marsha Evans, Lewis Fitch & others, recorders, ____MIDNIGHT SUN Alison Melville & Colin Savage, Daytime phone: (_____) ______gemshorns, guitar and voice. Medieval and recorders; Ensemble Polaris members playing flute, Address: ______Renaissance music with consort and singers. clarinet, guitar, ‘cello, hurdy-gurdy, percussion. New City/State/Zip: ______Millennium Music/ Charleston SC. $17 ARS/$20 others. arrangements of traditional music of Norway, Finland, ____CHRISTMAS AT THE CASTLE Blue Oak Estonia, Sweden, Scotland. Classic CD Disc of the Check enclosed for Consort and guests, Richard Geisler, dir. Five cen- Month, August 2000. Dorian. $17 ARS/$20 others. _____ single CDs x $___ = $______turies of holiday music from many lands; played ____MY THING IS MY OWN: BAWDY MUSIC OF _____ 2-CD sets x $____ = $______TOTAL $_____ and sung by 17 musicians on recorders, strings, THOMAS D URFEY Tina Chancey, Grant Herreid & Please charge the above amount to my MasterCard or percussion and voice. $17 ARS/$20 others. Scott Reiss, recorders & other early instruments; Visa:#______Exp. Date: ______CHRISTMAS MORNING David Young, Rosa Lamoreaux, soprano. Improvisations on tunes Cardholder’s signature: ______recorders; Lisa Franco, celtic harp; with other of love, sex & seduction in 18th-century England. Mail to: ARS,Box 631, Littleton CO 80160-0631, USA. Renaissance instruments. Well-known Christmas Koch Int’l. $17 ARS/$20 others. You may fax or call in your credit card order music. Universe Music. $17 ARS/$20 others. to 303-347-1181. STATEMENT OF OWNERSHIP, MANAGEMENT AND CIRCULATION (Required by 39 U.S.C. 3685) CONSIDER ADVERTISING IN 1. Publication title: American Recorder. 2. Publication No. CLASSIFIED 0003-0724. 3. Filing date: October 7, 2003. 4. Issue fre- ______quency: Bi-monthly except summer. 4. No. of issues pub- ______lished annually: five. 6. Annual subscription price: ______$32. 7. Complete mailing address of known office of publi- ______cation: American Recorder Society, P.O. Box 631, 5554 ______S. Prince St., Suite 128, Littleton, CO 80160-0631. Contact Full page ...... $540 Person: Brock Erickson. Telephone: 303-347-1120. 2/3 page ...... $400 8. Complete mailing address of the headquarters of general 1/2 page ...... $330 business offices of the publisher: same. 9. Full names and 1/3 page ...... $255 complete mailing address of publisher, editor, and manag- 1/4 page ...... $200 ing editor: Publisher: American Recorder Society, P.O. 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Selling recorders, other instru- changed during preceding 12 months. 13. Publication Published five times a year: January, March, May, Name: American Recorder. 14. Issue Date for Circulation ments, sheet music and accessories for early music. Be September, November. Data Below: September 2003. 15. Extent and nature of cir- culation. A. Total number of copies. Average number of sure to read “Playing The Recorder Only Seems Easy” Reservation Deadlines: December 1, February 1, copies each issue during preceding 12 months: 3,590. online, each month. Customer service is our April 1, August 1, October 1. Number of copies of single issue published nearest to filing date: 3,647. B. Paid and/or requested circulation: 1. middle name. www.acheerfullnoyse.com, Rates good through November 2003. Please inquire Paid/Requested outside-county mail subscriptions stated about discounts on multiple-issue contracts, inserts, on form 3541. 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