September 2010 Published by the American Recorder Society, Vol. LI, No. 4 • www.americanrecorder.org

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… integrated recorder stand Order-No. 2646K Order-No. 5606 www.mollenhauer.com A new collection of movie themes from Schott Noteworthy News ST12986,87 Movie Themes for S/A $19.95 Recorder SEPTEMBER 2010 12 memorable themes from the greatest movies of all time, available in soprano(ST12986) or Light Refreshment from Cheap Trills alto (ST12987). Full orchestral backing/demo TR00069 Ayton: Cupedia Musica SATB $7.00 tracks with live instrumental performances. Cupedium could be translated as light Includes themes from Casablanca, Shine, Dr refreshment, and these five original Zhivago, and Eyes Wide Shut. Piano compositions, of intermediate difficulty, are accompaniments to print as well. 36 page score intended to be just that, music to be enjoyed as and CD. a pleasant break from more serious music- making pursuits. 4 performing scores in a A wonderful collection of solos from Steve Rosenberg folder. 1BH03575,78 Rosenberg: Amazing SATB $20.95 Solos 22 appealing and truly great pieces which just DOL0276 Bach, JS: Sonata in C, A, Pf $11.50 happen to be fairly simple. Each one has its BWV1027 and 1039 varied musical strengths. These should A favourite, based partly on Bachs Sonata in G, BVW provide some unexpected pleasures and open 1039. 19 page score and parts. up enjoyable pathways that may otherwise have been unexplored. 1BH03575 for alto recorder Thanksgiving Greeting 1BH03578 for soprano recorder LMP0151 Phelps: Thanksgiving SATB $29.95 Greetings Great new collections from Recorder MusicMAIL 26 page score and parts. Contents: 1. Now Telemann fans will be excited by these new pieces Thank We All Our God, 2. Come, Ye PRM0327 Telemann: Concerto II, A, Pf $18.00 Thankful People Come, 3. We Gather TWV 42:G Together, 4. Over the River and Through the PRM0332 Telemann: Suite I, TWV A, Pf $22.95 Woods, 5. The Pilgrims Chorus, Optional bells 42:G4 and percussion parts also included. New from Moeck Music Some fascinating new contemporary pieces MK02212 Fortin: Pinocchio Swing T/S, Pf $17.50 PRM0016 Kelly: Pachelbels Canon SATB $7.00 MK02829 Maute: RUSH, -ScP AAAA $32.95 4 page score and parts. A great new Dovehouse edition arrives  BCMS011 Purcell: A Serenading sb, AA, Bc $17.00 Song, -ScP 6HHVDPSOHVRIWKHVH This light and pastoral work begins with a symphony for two alto recorders and basso continuo, combining the popular Italian trio sonata RQOLQH« texture with the stately opening followed by quicker contrapuntal music of a French overture.  This shows Purcells rich genius in setting text to music in a dramatic way. 7 page score and parts. For soprano and bass voices, 2 alto recorders and basso continuo. ZZZPDJQDPXVLFFRP A new Brade collection from Bernard Thomas MP10000 Brade:Neue Auserlesne SATTB $30.00  Braden,etc. William Brades Neue Auserlesne Braden, 0DJQDPXVLF'LVWULEXWRUV,QF Intraden, Mascheraden, Baletten, Allmanden, ORDER TOLL FREE: (888) 665-2721 Auffzuge und frembde Tanze, (1617) complete TEL: (860) 364-5431 FAX: (860) 364-5168 52 piece score and parts for 5 recorders or other Email: [email protected] instruments. A huge collection for the price. Shop Online at magnamusic.com Don’t forget to mention you’re an ARS member and get a 10% discount! Editor’s Note ______Volume LI, Number 4 September 2010 t’s good fortune when, twice in one year, Features the opportunity presents itself to publish I The Sitka Experience: An Incredible Gift ...... 14 an article showing the global scope of the recorder. Earlier this year, the recorder in By Vicki Boeckman, 2010 recorder resident Japan was the topic of an article—and other at the Sitka Center for Art and Ecology news in that issue made Japan a serendip- 5 itous theme for the January AR. 20th-Century Brazilian This issue takes us to Brazil in an Repertoire for the Recorder: article on three generations of composers of Brazilian recorder music, by Daniele Three Generations of Composers ...... 16 Cruz Barros (page 16). Showing how By Daniele Cruz Barros interconnected our world has become, Brazil, and Latin America in general, figure Departments in other reports in this issue, especially in descriptions of a recital by Cléa Galhano Advertiser Index and Classified Rates ...... 32 6 (page 5) and in Mary Halverson Waldo’s Education column (page 25). Even in Chapters & Consorts ...... 30 Music Reviews (page 27), some of the Play-the-Recorder Month 2010 music examined is from South America by way of Australia! Education ...... 25 Elsewhere is evidence of the busy events of late spring and early summer: Mary Halverson Waldo’s students benefit from reports on the Chicago Early Music performing, especially with students of other instruments; Festival (page 4) and the Berkeley Festival a Technique Tip encourages you to memorize your music 14 and Exhibition (page 7), and of the 2010 Play-the-Recorder Month (page 30). Music Reviews ...... 27 Gail Nickless President’s Message ...... 3 Lisette Kielson on reinventing the ARS Board

Tidings ...... 4 Chicago Early Music Festival; Cléa Galhano at Weill www.facebook.com/pages/ 16 American-Recorder-Society/ Hall; Hermann Moeck and Johanna Kulbach die; 118849625628 Berkeley Festival 2010 GAIL NICKLESS, EDITOR ON THE COVER: CONTRIBUTING EDITORS TOM BICKLEY, COMPACT DISC REVIEWS • FRANCES BLAKER, BEGINNERS & TECHNIQUE Illustration by TIMOTHY BROEGE, 20TH/21ST-CENTURY PERFORMANCE • CAROLYN PESKIN, Q & A Ann Marie SUE GROSKREUTZ, BOOK & MUSIC REVIEWS • MARY HALVERSON WALDO, EDUCATION DiVecchia ADVISORY BOARD MARTHA BIXLER • VALERIE HORST • DAVID LASOCKI • BOB MARVIN ©2010 THOMAS PRESCOTT • CATHERINE TUROCY• KENNETH WOLLITZ

WWW.AMERICANRECORDER.ORG GLENNA LANG, COPYRIGHT©2010 AMERICAN RECORDER SOCIETY, INC. DESIGN CONSULTANT ARS Chapters

ALABAMA HAWAII New York City: Gene Murrow (646-342-8145) Alabama Recorder Assoc.: Jennifer Hawaii: Irene Sakimoto (808-734-5909) Rochester: Liz Seely (585-473-1463) Garthwaite (256-586-9003) Big Island: Roger Baldwin Rockland: Jacqueline Mirando Birmingham: (808-935-2306) (845-624-2150) Janice Williams (205-870-7443) West Hawaii Recorders: Westchester: Marilyn Bernhardt (808-882-7251) AMERICAN ARIZONA Erica Babad (914-769-5236) IDAHO RECORDER Desert Pipes (Phoenix): NORTH CAROLINA George Gunnels (480-706-6271) Les Bois (Boise):Kim Wardwell Carolina Mountains: Arizona Central Highlands (360-202-3427) Carol Markey (828-884-4304) (Prescott): Georgeanne Hanna SOCIETY ILLINOIS Triangle: Mary McKinney inc. (928-775-5856) (919-489-2292) Tucson: Scott Mason (520-721-0846) Chicago: Mark Dawson (773-334-6376) Chicago–West Suburban: OHIO ARKANSAS Honorary President David Johnson (630-740-9220) Greater Cleveland: Aeolus Konsort: LOUISIANA Edith Yerger (440-826-0716) Erich Katz (1900-1973) Don Wold (501-666-2787) Baton Rouge: Toledo: Marilyn Perlmutter Honorary Vice President Bella Vista: Barbara McCoy (419-531-6259) (479-855-6477) Cody Sibley (225-505-0633) Winifred Jaeger New Orleans: OREGON CALIFORNIA Victoria Blanchard (504-861-4289) Eugene: Lynne Coates Central Coast: Margery Seid & David Kemp (504-897-6162) (541-345-5235) Statement of Purpose (805-474-8538) MARYLAND Oregon Coast: Corlu Collier The mission of the American Recorder Society is East Bay: Susan Jaffe Northern Maryland: (541-265-5910) to promote the recorder and its music by (510-482-4993) Portland: Zoë Tokar (971-325-1060) Inland Riverside: Greg Taber Richard Spittel (410-242-3395) developing resources and standards to help (951-683-8744) MASSACHUSETTS PENNSYLVANIA people of all ages and ability levels to play and Monterey Bay: LouAnn Hofman Boston: Justin Godoy Bloomsburg Early Music Ens.: study the recorder, presenting the instrument to (831-439-0809) (781-507-4891) Susan Brook (570-784-8363) North Coast: Kathleen new constituencies, encouraging increased career Recorders/Early Music Erie: Linda McWilliams Kinkela-Love (707-822-8835) Metro-West Boston: Sheila (814-868-3059) opportunities for professional recorder Orange County: Beardslee (978-264-0584) Philadelphia: performers and teachers, and enabling and Jo Redmon (714-527-5070) Worcester Hills: Doug Bittner Sarah West (215-984-8359) Redding: Kay Hettich (508-852-6877) Pittsburgh: Helen Thornton supporting recorder playing as a shared social (530-241-8107) (412-781-6321) Sacramento: Mark Schiffer MICHIGAN experience. Besides this journal, ARS publishes RHODE ISLAND a newsletter, a personal study program, a (916-685-7684) Ann Arbor: San Diego County: Harvey Annabel Griffiths (734-213-3172) Rhode Island: directory, and special musical editions. Society Winokur (619-334-1993) Kalamazoo: David W. Fischer David Bojar (401-944-3395) members gather and play together at chapter San Francisco: Greta Hryciw (269-375-0457) TENNESSEE (415-377-4444) Metropolitan Detroit: Claudia Greater Knoxville: meetings, weekend and summer workshops, and Sonoma County: Novitzsky (248-548-5668) many ARS-sponsored events throughout Dale Celidore (707-874-9524) Ann Stierli (865-637-6179) Northwinds Recorder Society: Nashville: the year. In 2009, the Society enters its South Bay: Janet Smith (231-347-1056) Liz Brownell (408-358-0878) Janet Epstein (615-297-2546) Western Michigan: Jocelyn Shaw Southern Middle Tennessee eighth decade of service to its constituents. Southern California: ( 231-744-8248) Jerry Cotts (310-453-6004) & (Tullahoma): Vicki Collinsworth MINNESOTA (931-607-9072) Board of Directors Juanita Davis (310-390-2378) Twin Cities: Sue Silber (651-697-7080) TEXAS Lisette Kielson, President COLORADO Boulder: Mike Emptage MISSOURI Austin: Frank Shirley (512-832-5600) Cathy Emptage, Treasurer (970-667-3929) St. Louis: Dallas: Jack Waller (972-669-1209) Nancy Buss Colorado Springs: Janet Howbert Norm Stoecker (636-230-9337) Rio Grande: Martin Winkler (575-523-0793) Mark Davenport (719-632-6465) NEVADA Denver: Dick Munz (303-286-7909) UTAH Mark Dawson Fort Collins: Sherry Pomering Sierra Early Music Society: Kay Judson (775-322-3990) Utah (Salt Lake): Mary Johnson Greg Higby (970-484-0305) (801-272-9015) Bonnie Kelly Early Music Society of Western CO: NEW HAMPSHIRE Bev Jackson (970-257-1692) VERMONT Jeanne Lynch Monadnock: CONNECTICUT Kristine Schramel (413-648-9916) Monadnock: Mary McCutcheon & Lynn Herzog (802-254-1223) Kristine Schramel (413-648-9916) Connecticut: Elise Jaeger & Lynn Herzog (802-254-1223) Susan Richter (203-792-5606) NEW JERSEY VIRGINIA Matt Ross Eastern Connecticut: Bergen County: Laura Sanborn-Kuhlman Joyce Goldberg (860-442-8490) Mary Comins (201-489-5695) Northern Virginia: DISTRICT OF COLUMBIA Highland Park: Donna Messer Edward Friedler (703-425-1324) Richard Spittel (732-828-7421) Shenandoah (Charlottesville): Washington: Art Jacobson Gary Porter (434-284-2995) (301-983-1310) Montclair Early Music: Nancy Weissman, Counsel Julianne Pape (845-943-0610) Tidewater (Williamsburg): DELAWARE Navesink: Lori Goldschmidt Vicki H. Hall (757-565-2773) Brandywine: Roger Matsumoto (732-922-2750) WASHINGTON Staff (302-731-1430) Princeton: Orum Stringer Moss Bay: (217-295-7149) Kathy Sherrick, Administrative Director FLORIDA Evelyn Lester (206-726-9257) 1129 Ruth Drive Ft. Myers: Sue Groskreutz NEW MEXICO Seattle: Jill Shupe (206-364-7509) St. Louis, MO 63122-1019 U.S. (239-267-1752) Albuquerque: Bryan Bingham WISCONSIN (505-299-0052) 800-491-9588 toll free Gainesville: Peter Bushnell Milwaukee: Carole Goodfellow (352-376-4390) Las Vegas (Flat & Baroque in Las (262-763-8992) 314-966-4082 phone Largo/St. Petersburg: Vegas): Tom Curtis (505-454-4232) Southern Wisconsin: 314-966-4649 fax Elizabeth Snedeker (727-596-7813) Rio Grande: Martin Winkler Greg Higby (608-256-0065) Miami: Phyllis Hoar (305-385-5386) (575-523-0793) [email protected] Palm Beach: Gail Hershkowitz Santa Fe: Gus Winter CANADA www.AmericanRecorder.org (561-732-5985) (505-603-8034) Edmonton: Nils Han (780-443-3334) Sarasota: Nancy Paxcia-Bibbins NEW YORK Montréal: Mary McCutcheon (941-536-0621) (514-271-6650) In accordance with the Internal Revenue Service Buffalo: Mark Jay (716-649-1127) GEORGIA Toronto: Sharon Geens (416-699-0517) Taxpayer Bill of Rights 2, passed by the United States Hudson Mohawk: Congress in 1996, the American Recorder Society makes Atlanta: Lee Danielson (518-785-4065) Please contact the ARS office Mickey Gillmor (404-872-0166) Long Island: to update chapter listings. freely available through its office financial and Barbara Zotz (631-421-0039) incorporation documents complying with that regulation.

6 September 2010 American Recorder President’s Message ______Greetings from Lisette Kielson, ARS President [email protected]

write this greeting in the middle of based and means-based areas of I summer, flabbergasted at how fast expertise. (Some examples of We sat there, time is flying; two months have passed mission-based expertise include our minds racing. already since the spring Board meet- music educators and professional ing in Boston, MA! That weekend performers, among others; We were sold. was particularly special: the Board was means-based expertise might given the wonderful opportunity of manifest itself as nonprofit When left alone that Friday after- participating in a half-day workshop fundraising and marketing noon and for the rest of the weekend, on board development. The workshop experience.) The ARS Board, our unbridled animation shifted to a was set up generously by Margaret like most arts boards, comprises focused awareness (equally thrilling) Moore of the Arts and Business mostly mission-based members. of the awesome challenges (and possi- Council of Greater Boston and led by · A change in term lengths (from bilities!) ahead of us. We got down to Peter Ames, a master on the subject. four years to three). work, hashing out what we need to do (On Friday and Saturday evenings we · An increase in number of meeting —preparing for change. The cliché, had the treat of attending a concert by times (from twice a year, to four “Rome wasn’t built in a day,” is The Boston Camerata and of meeting times). certainly apt here. The kind of change with the gracious and welcoming · A complete restructuring of the we’re talking about, structurally and Boston Recorder Society, respectively.) Board’s standing committees to philosophically, will take some time. The session with Peter was consist of Governance, Finance & The Board is confident, hopeful, extremely stimulating and immensely Administration, Fundraising & determined and ready to take the leap. valuable—resulting potentially (if we Development, Program, and We accomplished a lot in Boston follow his expert advice) in shaking up Marketing. —motions were moved and passed; (in the very best sense) the foundation · A balance of income earned notes were taken on necessary changes and structure of the ARS Board. through membership appeals to our By-laws (stay tuned); an ad hoc Below are a few thought- and grants. Strategic Planning Committee Chair provoking issues and suggested · An “endowment equal to twice was appointed; the budget was recommendations that were dis- [our] operating budget.” discussed, as were our publications— cussed during the workshop: You may be saying, “WOW!”— with all of our business unfolding · A larger Board (13-17 members) because we certainly did. We sat there, ceremoniously in the context of our with a balance of both mission- our minds racing. We were sold. new vision. SWEETHEART FLUTE CO.

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www.AmericanRecorder.org September 2010 7 Tidings ______Boulder Early Music Shop changes hands, ______New York City concerts include one by Cléa Galhano Successful Launch of Chicago Early Music Festival Pikler, a junior at suburban By Mark Dawson, Chicago, IL New Trier High School, is a student of Patrick O’Malley. Her parents are The City of Chicago’s Department of members of the violin section of the Cultural Affairs (CDCA) sponsored Chicago Chamber Orchestra, with the first annual Chicago Early Music which she has soloed in the past on Festival April 20-25. The festival’s 19 violin. Pikler won the 2007 Walgreens events included concerts, workshops, National Concerto Competition for master classes and panel discussions. both violin and recorder. Each day featured free concerts and Ahn studied music at Seoul events, either at the elegant 1890s Chi- National University and is currently cago Cultural Center (the former main working on a master’s degree in early library, decorated with Tiffany mosaics music at Indiana University. and stained glass, one of the most The festival was full of many popular tourist attractions in Illinois), fine moments, and boasted some Amy Pikler and Piers Adams or at Millennium Park’s new band- huge crowds, sometimes causing in the Millennium Park shell (where the stage can be enclosed concert-goers to sit illegally in the pavilion with huge sliding glass doors). aisles at Preston Bradley Hall—espe- When I first learned last fall cially to hear Baroque music of Italy, about the planned event, I approached Germany and France on Wednesday, CDCA’s Helen Vasey to offer the and Ensemble Lipzodes on Thursday help of the Chicago ARS Chapter. (“Shakespeare and the Bassano I expected (correctly) that this new Family”). Also enjoyable was a work- festival would enjoy a juggernaut of shop on French Baroque dance, and professional marketing and public a wonderful concert by the Newberry relations materials, and expertise from Consort, at Rockefeller Chapel at the the city. Our interest was welcomed, University of Chicago, of works by and Vasey suggested that we sponsor William Byrd for voices and viols. a master class by Piers Adams, the Alas, I couldn’t attend every British recorder star (of Red Priest). event, which would have meant taking Even in a recession, we raised off the entire week (which some did). $715 to support the master class, for I had to miss the Baroque Band which we were mentioned at events, playing Vivaldi’s L’Estro Armonico, on the festival brochure and web page, Medieval and Renaissance choral and elsewhere. Our goal was to parti- works by the German ensemble cipate in the city’s efforts to promote Lieber, and a high-tech rendition of early music and to help build a foun- choral works by Guillaume Dufay. dation to make the festival sustainable. The successful festival should Adams drew a crowd first to his be back in 2011, and I trust I’ll be lunchtime concert, and then to his there, relishing events showcasing expert teaching of two skilled young and promoting some of the most recorder artists, Amy Pikler (above elegant music ever made. left) and Mee Jung Ahn.

8 September 2010 American Recorder RECORDERS IN especially impressed by how well Brazilian Baroque NEW YORK CITY Haydn’s London Trio No.1 in C worked on alto recorder, flute and bassoon. By Rose Marie Terada, Louisville, CO By Anita Randolfi, New York City, NY (Recorder players: here’s a chance to enjoy the pleasure of playing Haydn On May 13, in Carnegie Hall’s Weill William Christie and his Les Arts usually denied us.) Recital Hall, a magnificent recorder Florissants were a big presence on the “Rule Britannia–Hail Columbia,” concert entitled “Brazilian Baroque” New York City scene last spring. They a program of 18th-century English was performed by Cléa Galhano moved into the Brooklyn Academy of and Anglo-American music, was (center below, with Rosana Lanze- Music to present a mini-festival of given by the Early Music New York lotte, harpsichord, and Peter Maund, Baroque opera (Marc–Antoine Char- Orchestra of Original Instruments, percussion). Galhano’s playing is pentier’s Acteon and Henry Purcell’s under the direction of Frederick Renz, always full of energy and passion— The Fairy Queen). These splendid on May 1 at St. James Church. The a passion matched by the others. performances were well covered in recorderist with the group, Rachel The three performers were so the local and national press, and Begley, was soloist in Robert Wood- attuned to each other that one might there’s nothing much I can add. cock’s Recorder Concerto for sixth flute, assume they had the luxury of many Instead, I want to mention the strings and continuo. The sixth flute is a rehearsals. Indeed, at times, the music public concert/master class Christie soprano recorder with D as the lowest evolved into lively conversation. conducted on April 2 in Alice Tully note. Renz told listeners that Begley The recital had a blend of early Hall. The group, Ensemble 415, is had to search far and wide to find an and contemporary pieces. The open- made up of Juilliard students in the appropriate instrument. It proved to ing piece was an arrangement of school’s new historical performance be a charming piece, if a bit generic, “Des oge mais” from Cantigas de program—18 instrumentalists and 8 with plenty of scales and other Santa Maria. Later, they played a singers. The all-English program was passagework to keep a soloist busy. composition written for this concert a bit of Matthew Locke, Purcell and A very interesting May 13 pro- by David Evan Thomas, How the Thomas Arne in the first half, and gram titled “Brazilian Baroque” was Angels Sang!, that incorporated the mostly Handel in the second. The given by Cléa Galhano, recorder, at melody from “Des oge mais.” stars of Ensemble 415 were, without Weill Hall at Carnegie Hall (see also The first half emphasized early doubt, the splendid young vocal report at right). The program was influences on Brazilian music. A soloists— especially soprano Deanna devoted to music showing cross- piece combining La Folia settings Breiwick’s fabulous, florid singing in cultural links among Italy, Portugal, by Bernardo Pasquini and Marin Handel’s Saeviat Tellus Inter Regores, Brazil and finally the U.S. Petite Marais illustrated those influences HWV240. The small amount of Portugal grew rich on trade in agri- beautifully. recorder heard was delightful. True cultural goods and gold from its The second half featured music to Baroque practice, Priscilla Smith Brazilian colony. Some of that wealth by Brazilian composers: Kilza Setti, and Luke Conklin were mostly was put into establishing a musical life Ernesto Nazareth and Edmundo employed as oboists, occasionally (church music, dance music, opera) Cortez. A 19th-century Afro-Brazil- playing recorder. They gave an much influenced by Italian Baroque ian dance, Landum, was rhythmic and especially good-humored account composers. In turn, that music mixed blended well with the 20th-century of the sopranino parts of Locke’s with native cultures and with African compositions. Symphony of Birds from Psyché. music styles brought by slaves. Weill Recital Hall is gorgeous “Beyond Baroque” was the title and has wonderful acoustics. of a program given at the Wah Center The reception room after the in Brooklyn on April 24. Gregory concert was over-flowing with Bynum, recorder, Andrew Bolotow- well-wishers for the performers. sky, Baroque flute, and Paula Rand, Among the enthusiastic and Baroque bassoon, were joined by appreciative crowd were our soprano Mary Hurlbut in quartets, group from Colorado, plus fans trios and solos by Haydn, A. Scarlatti, who traveled from the Midwest, Albinoni, J.S. Bach and others. I was California and the Northwest.

www.AmericanRecorder.org September 2010 9 Bits & Pieces Hall (EMG’s concert venue since Based in Toronto and active with the 1999; SBO moved there last year). Toronto Consort, Tafelmusik, Ensem- EMG presents international tour- ble Polaris and the Bird Project, she ing artists, while most SBO musicians, remains on Piffaro, The Renaissance Band, will including directors Ingrid Matthews the teaching hold its third recorder competition and Byron Schenkman, are based in faculty of the for young players, grades 7-12. Piffaro Seattle. EMG executive director Gus University of aims to encourage younger performers Denhard is executive director of the Toronto. to explore the repertoire of the 15th new organization. He will continue to Also in century into the early 17th century. program EMG’s International Series, Toronto, Five to six finalists will be chosen by a while Matthews and Schenkman Scott Pater- panel of professional recorder players remain as music director and artistic son has left and teachers, based on a CD of live director respectively of SBO. The Royal playing. Finalists will come to Phila- The new shared web site at Conservatory delphia, PA, for a live competition on www.earlymusicguild.org includes after 30 years January 29, 2011. Important dates are: online ticketing for all programs. to open his letter of intent due: September 30; The Regis University Collegium own studio. application materials: November 1; Musicum in Denver, CO, offered a The Boulder Early Music Shop notification to finalists: December 1. program entitled, “Rejoice Ye All With has new proprietors: Charlie Ogle, Visit www.piffaro.org. Music: A Musical Tour of England, owner, and Anthony Allen, general In Seattle, WA, the Early Music Germany and Italy” in April. To com- manager (l to r, photo by Greta Hryciw Guild (EMG) and Seattle Baroque memorate J.S. Bach’s 325th birthday at the Berkeley Festival & Exhibition). Orchestra (SBO) merged as of July 1 (March 21, 1685), the concert featured See www.bems.com. as the Early Music Guild, which will his double choir motet Komm, Jesu, leverage complementary artistic mis- komm, sung by the Collegium Singers sions and audiences, and share Town with period instruments (Baroque chamber organ and two bass gambas). A work by Italian composer Orazio Vecchi (1550-1605) also featured the Collegium Band (recorders, sackbuts, cornettos and viols) with the choir. Now in its ninth year directed Lost in Time Press by founder Mark Davenport, the 28-member vocal and instrumental New works and ensemble is made up of students, Passing Notes arrangements faculty and community members. for recorder ensemble Dr. Hermann Moeck passed away on July 9. Moeck was director of Moeck Changing Tones Compositions by Musikinstrumente+Verlag, a leading Alison Melville has resigned after German manufacturer of recorders Frances Blaker 11 years on the historical performance and a music publisher, from 1960 Paul Ashford teaching faculty at the Oberlin College until his retirement in 2002. Hendrik de Regt Conservatory of Music to pursue more and others Johanna Kulbach died on July performance and recording work. 21 at age 98 in New York City, NY. Inquiries: The recorder teacher (and author of Corlu Collier recorder books, such as The Recorder PMB 309 Guide with Arthur Nitka ) 2226 N Coast Hwy was profiled in an autobiographical Newport, Oregon 97365 article in the March 2003 AR. www.lostintimepress.com More on both individuals [email protected] will appear in a later issue.

10 September 2010 American Recorder Berkeley Festival 2010 While some may think of early music as much more recent. A delight was their Little, Baroque oboes; Glen Shannon, being “typical” of the Berkeley Festival version of The Well by Pauline Oliveros. traverso and recorder; Tom Hill, & Exhibition (BFX10), held June 6-13 The light, percussive notes starting the Baroque bassoon; Mary Elliott, gamba; at various locations in Berkeley (CA), the piece evoked an image of water perco- Nina Bailey, harpsichord—premiered at fringe events often offer music in a vari- lating through rocks, shifting moods as Trinity Chapel. With virtuosic quartet ety of styles from a wide range of time the sonorous C-bass and contra bass sonatas by J. C. Schickhardt and J. F periods. Certainly no Three Trapped recorders conjured a deep running Fasch specifically written for the unusual Tigers concert could be considered stream, while a Renaissance alto danced grouping of recorder, two oboes, bassoon “typical,” and the tigers (Tom Bickley, over the surface like shimmering light. and continuo, Aliento treated a crowded David Barnett and guest tiger Judith From water, concert-goers moved to house to rarely-heard gems of clever con- Linsenberg) continued the tradition of “breath”—in Spanish, aliento. Spanish versation and shifting alliances. The a-typicality as they kicked off the week professor, recorderist and Baroque opening Schickhardt sonata luxuriated in on June 6, with “premodern music for double-reed player Alan Paul assembled its two-oboe sound, but actually starred postmodern ears and vice versa.” Baroque wind players, with continuo, the recorder. The program juxtaposed the very naming the result Ensemble Aliento. The next afternoon, the entrance early (Machaut and Landini) with the On June 7, the group—Paul and Moira into the Trinity Chapel performance space of Letitia Berlin, recorders; Cooperation Necessary for Berkeley Festival 2010 Yuko Tanaka, harpsichord; and David Morris, viola da gamba, set a scene of By Tish Berlin richness and warmth: Tanaka’s red silk blouse was enhanced by the two-tone As an ARS Board member residing in the Berkeley (CA) area during planning for green harpsichord; its lid was the same the 2010 Berkeley Festival & Exhibition (BFX10), I was responsible for organizing warm ochre as Morris’s gamba. Mor- ARS events. It was with uncertainty that we embarked on our early plans, knowing ris’s crisp blue shirt complemented Ber- that the biggest sponsor of past years, Cal Performances, would not play a large role lin’s velvety aquamarine top. The jewel in BFX10. It was up to Early Music America (EMA), the San Francisco Early tones offset the comfortably worn red of Music Society (SFEMS), the ARS and local musicians to make a viable festival. the oriental carpets on which they played. Everyone come through! In my opinion, it was one of the best festivals ever— Berlin, keenly focused on her perform- even without a festival orchestra and opera, and without big-name groups that Cal ance, approached the Corelli violin Perfs presented in past years. The community spirit and cooperation engendered sonata in C major with flourish and among the presenting groups made this a more satisfying BFX in many ways. a pure, open tone. Tanaka and Morris The ARS had already engaged Marion Verbruggen for a master class at provided superb basso continuo, in BFX10, and planned to sponsor a free Recorder Relay. In the past, we have not perfect sync with each other and budgeted for expensive mainstage events—but, when SFEMS executive director closely following Berlin’s lead. Harvey Malloy proposed co-sponsoring a mainstage recorder concert, the ARS Board agreed that we must not pass up this opportunity. Part of our mission is to bring the best recorder playing and teaching possible to a wider audience, and we felt our membership would support us in accepting this co-sponsorship. Our request for donations to fund the Verbruggen Trio concert at BFX10 was generously answered. Like a game of dominos, the presence of the trio—including Margriet Tindemans, viol, and Jillon Stoppels Dupree, harpsichord—set off a chain of events that reached the entire festival audience. Tindemans was asked to participate in a session at EMA’s conference, and engaged by the Viola da Gamba Society to teach a master class. Dupree was hired by the Western Early Keyboard Association to teach a master class. The trio played a brilliant concert, and was one of the highlights of the grand finale concert on Sunday afternoon. Matías Tarnopolsky, the new executive director of Cal Perfs, has said in an Yuko Tanaka, harpsichord (l), interview that his organization will return as a major sponsor in 2012. I will be glad and Letitia Berlin (photo by to see Cal Perfs take a more active role again, but I hope that the wonderful spirit Greta Hryciw) created by all the other groups working together this year will remain.

www.AmericanRecorder.org September 2010 11 Two recorder players, two percus- Schaner, archlute—made its BFX10 sionists, endless possibilities? Can- Blaker engages freely fringe debut in First Congregational çonièr duo Annette Bauer and Tim in what she calls Church (FCC) Loper Chapel with Rayborn joined with percussionist extra- “the unhesitating “Glosa—Virtuosic Embellishment ordinaire Peter Maund and recorder & Florid Ornamentation of the late wizard Kit Higginson for “Double art of transcription Renaissance.” For the afternoon’s con- Trouble.” It is a given that Cançonièr rampant throughout cert (they offered another on the festi- will present repertoire from off the the Baroque period.” val’s last evening), the directors added beaten track of early music. This Shirley Hunt, gamba, and Andrew musical journey, played at Berkeley’s Making it easy on the audience, the Levy, recorders—the latter perhaps MusicSources on the evening of June 8, next event followed in the same venue. known to AR readers as a past ARS took the standing-room-only crowd to Directed by Frances Blaker, Bay Area scholarship winner and Berkeley 13th- and 14th-century Italy, France, Baroque Orchestra (BABO) com- performer going back to his youth and Spain, Macedonia, Georgia and Galicia. prises amateur Baroque string, wind and the East Bay Junior Recorder Society. Cançonièr brings a treasure-trove continuo musicians—many new to BFX10 put him on stage as an accom- of instruments for any performance, and Baroque performance practice, playing plished young artist in his own right. a recent addition—Bauer’s Medieval at low pitch (A=415), and using histor- The program began with the brass bell tree—pealed the hauntingly ical tunings. More experienced players madrigal Anchor che col partire, first in beautiful Polorum Regina, accompanied help the less experienced, and Blaker its original Cipriano de Rore four-part very subtly by Maund on large frame chooses music to highlight all sections. setting (top line down: White singing, drum, to stunning effect. Higginson Blaker engages freely in what she Levy playing a voice flute by R. K. and Bauer teamed up on tenor recorders calls “the unhesitating art of transcrip- Ehlert, Schaner’s lute and Hunt playing for very early counterpoint in Lavandose tion rampant throughout the Baroque the bass line on gamba). They moved le Mane (Rossi Codex), which was sump- period.” This results in more recorders into Giovanni Bassano’s divisions on tuously infused with rich tuning and than were found in a true Baroque the melody, played with robust tone and unusual offset rhythms. orchestra—where the main winds were well-articulated ornamental figures by From smaller beginnings, Ensem- oboes doubling on recorders, in special Levy on a Ganassi-style alto by Peter ble Vermillian has emerged as a pow- circumstances or for effect. BABO’s van der Poel, with lute and gamba. erhouse ensemble. Their June 9 per- June 9 concert featured four recorders Hunt then offered on gamba Girolamo formance, before a hefty crowd at Trinity on one side of the room, with two oboes Dalla Casa’s divisions on the same mad- Chapel, showed they are destined for doubling on traverso on the other. rigal, with only lute accompaniment. greater venues. The core ensemble History aside, their performance White finished, singing the melody, as features sisters Frances Blaker, was a rousing collection of music for decorated by Giovanni Batista Bovicelli recorders, and Barbara Blaker Krum- full orchestra, also featuring two small and also accompanied by lute. dieck on Baroque ’cello; this episode ensembles. The concert’s centerpiece, Levy’s rendition of Jakob van included David Wilson, Baroque violin; Blaker’s arrangement of La Tempesta di Eyck’s Prins Robberts Masco (Prince William Simms, theorbo and Baroque Mare by Antonio Vivaldi, put the Rupert’s March) was offered on alto guitar; and Henry Lebedinsky, harpsi- recorders on center stage as a four- Ganassi—but played as if it were a chord. Guest Joey O’Donnell added his player unit, fingers a-flying in unison. soprano, fingers flying deftly through Baroque viola in a mysterious Passacalio On June 10, the newly-formed the variations. by Biagio Marini (1587-1663). Euphora Consort—directed by Amy The program closed as it began, Every piece in their program of White, soprano voice, and Dominic but with the chanson Susanne un jour of music from the 16th-18th centuries was Orlando di Lasso—first in four parts, exciting and technically demanding in both treble and bass. The opening In the Exhibition, Sonata VIII, Op. 3, by Arcangelo Corelli, Michelle Knollhoff set the tone with a difficult, yet effortless (l) and Lucy and well-controlled, recorder and violin duo. Later, a Ground by John Blow Conklin greeted (1649-1708) had the audience browsers at the thoroughly engaged in the hot-potato ARS table exchange of snarky virtuoso commen- (photo by tary among all members of the group. Charles Coldwell) 12 September 2010 American Recorder then with Levy taking up a van der Poel At the ARS Ganassi-type soprano for Bassano’s Recorder Relay: divisions, with lute and gamba accom- Andrew Levy offered paniment. Schaner offered his own lute solo recorder pieces, divisions next—completely in the style of 17th-century composers. Francesco including a Rognoni’s divisions were played on self-composed work gamba, then joined by Levy’s alto Ganassi. A large, appreciative audience responded with loud and long applause. For the Wednesday festival event, “San Marco and the Venetian Double Choir,” 16 performers of ¡Sacabuche! presented an entertaining sampler of Three Trapped Tigers music of Venice from the mid-1500s to played “a sort of the mid-1600s. Soprano, countertenor, musical pointillism, tenor and bass voices joined with com- as in a Georges Seurat binations of cornetto, tenor and bass painting” (l to r, David sackbuts, Baroque violins, dulcian, organ and lute. Sections of polyphony Barnett, Tom Bickley, and homophony alternated with double Greta Hryciw; photos choirs of instruments or instruments and by Glen Shannon) voices. Surprisingly the acoustics of the ukulele; Frances Blaker, recorders; FCC sanctuary did not lend the best ened version of one large work: John Three, for Three Recorder Players Joey O’Donnell, violin and viola; Shira balance to the sound, at times obscuring Cage’s Playing a Variety of Instruments Kammen, violin and vielle; Barbara the singers’ lines and at other times (1989). Three Blaker Krumdieck, ’cello; and Henry swallowing the sound. However, the uses Cage’s time bracket notation: Lebedinsky, harpsichord and bouzar ensemble’s energy and transparent “… a player chooses when within a spe- (a hybrid bouzouki-guitar). fluidity pleased the nearly full house. cific amount of time to begin and end a The opening suite from Jean- The ARS Recorder Relay started note....The pitches are specified, and the Le Bourgeois the schedule at 10 a.m. on June 11 in possible chords are determined, but the Baptiste Lully’s opera Gentilhomme FCC Loper Chapel, providing two occurrences are left to intentional deci- was played by the full mini-programs. Playing the Allemande sions by the performers.” Cage suggests ensemble, sounding very much like from J.S. Bach’s Partita in C on a Von F contra, C bass, F basset, tenor, alto, William Christie’s recording of the Huene alto, Andrew Levy’s relaxed soprano and sopranino—a total of 15 musical interludes. Blaker’s Von Huene tempo and full tone was coupled with recorders for three players. “Terton” soprano floated on top, pulling an understanding that the basso con- The result, for the listener, is a sort off the rare illusion of real dynamics. tinuo line is imbedded in the structure of musical pointillism, as in a Georges After the open fourths and fifths of the solo. He achieved the effect of Seurat painting. Silence functions as a of early Renaissance pieces, Wild Rose two individuals playing distinct lines. way of building tension, to provide the moved to traditional fare. The Breton air An Dro Besides being a fine player, he is tension and release that music must have opened with Kammen’s vielle, a budding composer. Levy played an to move forward. (From outside could soon joined by Berlin on “Ganassi” alto untitled self-composed piece on a voice be heard a group singing Gregorian as the vielle assumed drone-like fourths flute by R.K. Ehlert, producing multi- chant; rather than detracting, the mood and fifths in double stops. When Blaker Three phonics and shakuhachi-like sounds in of meditation inherent in was added her Coolsma alto, the recorders a lyrical piece that seemed rather like a enhanced!) When the trio put down sounded like one as they morphed into Crooked Waltz latter-day rondeau. their instruments, the piece ended; the traditional French . The second half of this Relay fea- the audience applauded vigorously. Scottish dances and tunes led the tured Three Trapped Tigers—the Mid-afternoon at Trinity Chapel on audience through nostalgic mists to usual core of David Barnett and Tom June 11 found a large audience, awaiting concluding Irish tunes—recorders in Bickley, this time with guest tiger Greta a mixture of early music and traditional, unison, and absolute precision in an Wild Haug–Hryciw. They presented a short- mostly-Celtic, music. The eclectic energetic and exciting finish. The Rose is Letitia Berlin, recorders and audience leapt up for an ovation.

www.AmericanRecorder.org September 2010 13 from Medieval Europe, plus traditional The Saturday morning master class modal repertory of Armenia, Greece, on June 12 afforded insights for per- Turkey, Breton, Algeria, and Sephardic formers and teachers as virtuosa Marion sources. By treating this repertory as Verbruggen coached participants Zoe essentially monophonic song, and Tokar, Tish Berlin and Andrew Levy. approaching it as one might approach Tokar performed Telemann’s Fan- Medieval European music, the group tasia 10 with aplomb and received good- brought out the beauty of the lines, the humored guidance. Verbruggen men- witty interplay among phrases, and the tioned consideration of room acoustics in opportunities for conversation among relation to tempo and articulation, main- the timbres of percussion, bowed and tenance of breath as a path for relaxation, There was much buzz in advance plucked strings, and recorders. Higher and even choice of fabric used to stop the of the mainstage concert by Marion recorders worked most successfully, and bell for playing high notes (photo at right Verbruggen, recorder; Margriet Tin- Annette Bauer demonstrated rich musi- by Glen Shannon). demans, viola da gamba; Jillon Stop- cianship. Peter Maund’s percussion Berlin played voice flute in move- pels Dupree, harpsichord (photo above complemented the vigorous playfulness ments from a Hotteterre suite, joined by by Charles Coldwell). The magnificent from both Shira Kammen, playing Baroque ’cellist Barbara Blaker Krum- FCC’s ample seating and lovely interior bowed strings, and Bauer. A row of dieck. Verbruggen noted ways for them was the venue for the trio, which entered candles at the front of the performance to use space and silence to articulate and launched into Telemann’s Trio area lent just the right warmth to this phrases and to employ a diversity of Sonata in F Major without hesitation or successful late-night concert celebrating French ornaments to bring out the dance ceremony. The audience seemed to hold the release of the group’s Lost Mode CD. quality. Syllables for tonguing and treat- its collective breath, listening with great intensity and eager anticipation. These three women embody the Three of Lost concept of virtuosity. Tindemans’s speed Mode’s candlelit and precision up and down the finger- performers: board for Bach’s Organ Trio in F Major Derek Wright, belied her bass gamba’s size. Note for Shira Kammen note, she matched Verbruggen’s remark- and Annette able articulation and fingering. Dupree’s Bauer (photo by harpsichord virtuosity was just as inspir- Greta Hryciw) ing in her accompaniment—even more so during her solo playing of Couperin’s Prelude and Chaconne in F major. Verbruggen offered a refreshing version of Handel’s familiar Sonata in C -RLQXVDVZHFHOHEUDWH Major, applying unexpected articulation, phrasing and painfully expectant appog- RXUWK$QQLYHUVDU\ giaturas. Throughout the concert, her 0HPEHUVKLSLVDJUHDWYDOXH relaxed fingers obeyed each command Š 2QOLQHDFFHVVWR*URYH0XVLF2QOLQH YDOXH without hesitation. Verbruggen achieved Š 2QOLQHDFFHVVWR1D[RV0XVLF/LEUDU\ YDOXH
ZZZHDUO\PXVLFRUJ Š (DUO\0XVLF $PHULFDPDJD]LQH TXDUWHUO\ the very high, yet sweet, notes with her HQWHUGLVFRXQWFRGH&<.6 knee as though it were merely an 11th Š (QRWHV PRQWKO\ DQG%XOOHWLQ VHPLDQQXDO RUPHQWLRQWKLVDGIRUD Š 0HPEHUVKLS'LUHFWRU\ GLVFRXQW finger. With swift, silent page turns and almost undetectable breathing, she was (0$ZRUNVKRS%HUNHOH\ the picture of composure—in complete &DOOXVWROOIUHH command of her performance, leaving no  wonder that she is such an inspiration. (DUO\0XVLF$PHULFD The Lost Mode performers (DVWODNH$YH( 6HDWWOH:$ welcomed a packed house at Trinity LQIR#HDUO\PXVLFRUJ Chapel and enthusiastically played music

14 September 2010 American Recorder ment of notes inegale were further topics. Order your Levy offered a recorder discs Bach solo partita. Ver- bruggen through the encouraged him to enjoy ARS CD Club! the disso- nance in the The ARS CD Club makes hard-to-find or limited release trills, and to CDs by ARS members available to ARS members at the special price listed. All CDs are $15 ARS members/ think of it as somewhat more free than $17 Others unless marked otherwise. Two-CD sets are $24 ARS members/ we too often imagine Bach to be. $28 Others. Add Shipping and Handling: $2 for one CD, $1 for each additional CD. One exercise she suggested to really An updated list of all available CDs may be found at: www.americanrecorder.org. learn the piece is to write a bass line for NEW CDS! (Partial listing) it, to give a richer grasp of the implied harmonies. Verbruggen pointed out a ____ALEGRANSA, SONGS OF THE TROUBADOURS: GRACE AND DESIRES Tina Chancey, viol, lyra, rebec & Kamenja; Isabelle Bonnadier, voice, harmonium indien crucial aspect: the value of a well-edited & bells; Valérie Loomer, cittern & gittern; Gwénaël Bihan, flutes; Bernaténé Ludwin, —ideally, a scholarly—edition, as a relia- percussion. Seven troubadours—born in Limousin, Auvergne, Dauphine, Provence—are represented by their words and, not so common to survive, their own songs. A melting pot ble source and guide to play this music. of Middle Eastern, Persian, Indian, with the wealth of the late Middle Ages. Improvisation All three participants brought much is much of the instrumental part. Recorded live in a week of concerts by Hesperus. 2010. to the audience, in both their playing and ____CIRCLE OF THE DANCE Alma Brasileira: Cléa Galhano, recorders; Joan Griffith, guitar, cavaquinho, mandolin; ability to integrate Verbruggen’s insights. Lucia Newell, voice. Three performers with unique connections to the country & music of Musica Pacifica’s Saturday after- Brazil; bring these personal intimacies together to create music with a spirit of life & love, to transport you to a place of joy, peace & calm. 2010. noon concert in the historic Berkeley City Club was billed as a CD release ____JOHANN, I’M ONLY DANCING Piers Adams, recorders; Julia Bishop, violin; Angela East, ’cello: Howard Beach, harpsi- party, although Dancing in the Isles will chord. Dynamic music by the Baroque’s greatest genius, J.S. Bach. Red Priest’s epic versions of Brandenburg Concerto No.3, the great D minor Toccata and Fugue, dazzling be released in the fall. They played allegros, whirling dances, sublime adagios, inspired by Bach’s improvisatory zeal. 2009. music from the CD material. ____THE LOST MODE The Berkeley City Club was Annette Bauer, recorders; Shira Kammen, vielle, harp, violin; Peter Maund, percussion, designed by pioneering woman architect Derek Wright, oud. Melodies from Sephardic, North African, Armenian, Breton & Basque modal traditions. New works based on Medieval models, next to century-old counter- Julia Morgan, whose masterwork is the parts. Multi-layered, time- and boundary-crossing collection of tones, timbres, textures, Hearst Castle. The drawing room pro- lovingly held together by the common thread of mode. 2010. vided a perfect backdrop for early music, ____TERRA NOVA CONSORT Sue Carney, voz afilla alto, guitarria, sopranino recorder, percussion; Amalie Hilsee, evoking perhaps a great home of a noble- violin, bass viol; Kay Hilton: voz natura soprano, percussion; Pat O’Scannell, voz facile man in the minds of the overflow crowd. mezzo-soprano, soprano recorder, alto shawm, tenor viol, guitar, percussion; David Rogers, vihuela; Nicholas Tennant, voz natura baritone; Andrew Maz, tenor vihuela. For this program Musica Pacifica Searing vocals tell tales of the Iberian people’s heart, history & struggle. Driving melo- (Judith Linsenberg, recorder; Elizabeth dies, rhythms of life lived boldly. Traditional instruments weave a rich tapestry. 2010. Blumenstock, violin; David Morris, Please indicate above the CDs you wish to order, and print clearly the following: viola da gamba; Charles Sherman, harp- sichord) was joined by guests Robert Name:______Daytime phone: (____) ______Mealy, violin; Charles Weaver, theorbo Address: ______City/State/Zip:______and guitar; and Peter Maund, percus- _____ single CDs x $____ = $______2-CD sets x $____ = $______sion. The opening suite from Henry Shipping/Handling: $2 for one CD, $1 for each additional CD $______Purcell’s opera, The Prophetess, or the _____ Check enclosed for TOTAL $______History of Dioclesian (1690), set the _____ Please charge the above amount to my MasterCard, Visa or AmEx: #______mood as its French-style overture’s Exp. Date: ______Cardholder’s signature:______stately double-dotted rhythm gave way Order CDs using PayPal at www.americanrecorder.org/order/cdroms.htm. to a light staccato melody. Moving next Mail to: ARS, 1129 Ruth Dr., St. Louis, MO 63122-1019 U.S. to A Jacobean Masque, the second set Fax a credit card order to 314-966-4649.

www.AmericanRecorder.org September 2010 15 American Recorder Society Publications concluded with Linsenberg, playing a tenor Traumflöte and accompanied by Musical Editions from the Members’ Library: theorbo, offering Robert Johnson’s The ARS members: 1 copy-$3, 2 copies-$4.50, 3-$6, 4-$7.50, 5-$10, 6-$11.50 Non-members (editions over 2 years old): 1 copy-$5, 2 copies-$8.50, 3-$12, 4-$15, 5-$19.50, 6-$23 Fairy Masque. Rapid changes of mood Arioso and Jazzy Rondo (AB) Carolyn Peskin Los Pastores (S/AAA/T + perc) Berceuse–Fantaisie (SATB) Jean Boivert Virginia N. Ebinger, arr. and tempo, from slow to breakneck fast, Bruckner’s Ave Maria (SSATTBB) New Rounds on Old Rhymes (4 var.) gave Linsenberg ample opportunity Jennifer W. Lehmann, arr. Erich Katz Canon for 4 Basses (BBBB) David P. Ruhl Other Quips (ATBB) Stephan Chandler to demonstrate her virtuosity. Dancers (AT) Richard Eastman Poinciana Rag (SATB) Laurie G. Alberts Moving to the isles, traditional Different Quips (AATB) Stephan Chandler Santa Barbara Suite (SS/AA/T) Erich Katz Elegy for Recorder Quartet (SATB) Sentimental Songs (SATB) David Goldstein, arr. Irish tunes built to a rousing climax with Carolyn Peskin Serie for Two Alto Recorders (AA) Elizabethan Delights (SAA/TB) Frederic Palmer everyone playing, the violins taking on Jennifer W. Lehmann, arr. Slow Dance with Doubles (2 x SATB) an Irish fiddler character under the Fallen Leaves Fugal Fantasy (SATB) Colin Sterne Dominic Bohbot Sonata da Chiesa (SATB) Ann McKinley soprano recorder. A final medley of tra- Four Airs from “The Beggar’s Opera” (SATB) S-O-S (SATB) Anthony St. Pierre Kearney Smith, arr. Three Bantam Ballads (TB) Ann McKinley ditional Scots tunes increased in excite- Gloria in Excelsis (TTTB) Robert Cowper Three Cleveland Scenes (SAT) Carolyn Peskin ment and speed to its conclusion; the Idyll (ATB) Stan McDaniel Three in Five (AAB) Karl A. Stetson Imitations (AA) Laurie G. Alberts Tracings in the Snow in Central Park (SAT) audience gave an enthusiastic ovation. In Memory of Andrew (ATB) David Goldstein Robert W. Butts On the last afternoon of the festival, In Memory of David Goldstein (SATB) Trios for Recorders (var.) Will Ayton George T. Bachmann nine members of the East Bay Junior Lay Your Shadow on the Sundials (TBgB) Triptych (AAT/B) Peter A. Ramsey Terry Winter Owens Two Bach Trios (SAB) William Long, arr. Recorder Society (photo at top right by Leaves in the River (Autumn) (SATB) Two Brahms Lieder (SATB) Charles Coldwell), ranging from third Erik Pearson Thomas E. Van Dahm, arr. LeClercq’s Air (SATB) Richard E. Wood Variations on “Drmeš” (SATB) Martha Bishop grade through teenager, offered a 35- Little Girl Skipping and Alouette et al ( Vintage Burgundy (S/AS/ATT) SATBcB) Timothy R. Walsh Jennifer W. Lehmann, arr. minute program of Renaissance to Bach and Handel on SATB recorders. High- ARS Information Booklets: lights included a lively performance of ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 Non-members: 1 booklet-$18, 2 booklets-$33, 3-$44, 4,$55, 5-$66, 6-$76, 7-$86 Riu, Riu, Chiu (by Mateo Flecha el Adding Percussion to Medieval and Improve Your Consort Skills Susan Carduelis Viejo), and a haunting anonymous Renaissance Music Peggy Monroe Music for Mixed Ensembles American Recorder Music Constance Primus Jennifer W. Lehmann 14th-century Rosa Fragrans, in which Burgundian Court & Its Music Playing Music for the Dance Louise Austin the ensemble divided into three groups Judith Whaley, coord. Recorder Care Scott Paterson spread around the intimate chapel of St. Education Publications Joseph of Arimathea. They managed the The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). difficult feat of playing this polyphonic First copy free to ARS Members (mailed to new members as they join); replacements, $3. Guidebook to the ARS Personal Study Program (1996). Material formerly published in the Study motet perfectly together, and the spatial Guide and Study Guide Handbook, plus additional resources. Members, $11; non-members, $20. effect surrounded the audience with a ARS Music Lists (2002 with 2003 Supplement). Graded list of solos, ensembles, and method books. Members $9; non-members, $15. Package Deal available only to ARS members: Guidebook and Music rich, warm sound. Lists/Supplement ordered together, $16. The full tone, good intonation and Videos solid rhythm displayed by these young Recorder Power! Educational video from the ARS and recorder virtuoso John Tyson. An exciting recorder players is a testament to the resource about teaching recorder to young students. ARS members may borrow a copy for one month by sending $5 to the ARS office along with the address to which the tape should be shipped. coaching of the Junior Recorder Soci- Pete Rose Video. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music ety’s directors: Louise Carslake, Han- Festival recital. Features Rose performing a variety of music. and an interview of him by ARS member professional John Tyson. neke van Proosdij and Annette Bauer. Later, the Albany Consort show- Other Publications cased Jonathan Salzedo, harpsichord; Chapter Handbook. A resource on chapter operations for current chapter leaders or those consider- ing forming an ARS chapter. ARS members, $10; non-members, $20 (updates free after initial pur- Marion Rubinstein, recorders; Greer chase). One free copy sent to each ARS chapter with 10 members or more. Ellison, traverse; Christa Pfeiffer, Consort Handbook. Resource on consort topics such as group interaction, rehearsing, repertoire, per- forming. ARS member prices: CD, $10; hard copy, $20; combo price of CD and hard copy ordered soprano; Laura Rubinstein–Salzedo and together, $25. Rachel Hurwitz, violin; Amy Haltom Shipping & Handling Fees: Under $10 - add $3; $10-19.99 - add $4; $20-29.99 - add $5; and Ondine Young, viola; Amy Brodo, $30-39.99 - add $6; $40-49.99 - add $7. All prices are in U.S. dollars. For Canadian or foreign postage, ’cello; Roy Whelden, viola da gamba and pay by credit card and actual postage is charged. Please make checks payable to ARS. VISA/MC/AMEX/Disc also accepted. violone. They opened with a favorite Bach cantata, Ich Habe Genug, here in the See www.AmericanRecorder.org for complete publication offerings, for sale and free to members. alternate version for soprano voice with ARS, 1129 Ruth Drive, St. Louis, MO 63122 U.S. flute obbligato. This version is more 800-491-9588 [email protected] delicate than the usual rendition of bass

16 September 2010 American Recorder Early Music America’s June 10-12 conference, “400 Years of Vespers,” commemorated the 400th anniversary of Claudio Monteverdi’s Vespers of 1610, broadening the focus by cover- ing Vespers from the Middle Ages to the Baroque. Morning sessions were devoted to lecture presentations by scholars while afternoons offered a choice of participating in instru- mental or vocal workshops that often focused on music dis- cussed during the morning. Most participants attended vocal sessions (like Susan Hellauer’s Chant Camp), but the instru- mental group of around 10 included a variety of strings (vielle, viol, violin) and winds (dulcians, shawms, flute, recorders). Margriet Tindemans started her Medieval instru- mental session by teaching the chant Ave maris stella by ear. with oboe obbligato. In the first aria, the flute was every bit She then introduced rhythmic alterations to produce a tenor, an equal partner to the voice, and Ellison’s traverse playing and had the group compose two- and three-voice clausulae on was so expressive that text could almost be heard coming from the tenor following Medieval theoretical practices. The group the flute. The final movement, the aria Ich freue mich auf meinen next played and analyzed the highly ornate instrumental Tod, conveyed the joy and triumph that Bach intended and version of Ave maris stella from the Faenza codex, and used gave chill bumps to audience members. it as a model to compose their own ornate settings. J.J. Quantz’s Trio Sonata for recorder, flute and continuo followed the Bach cantata. One of only six known works for both flute and recorder, this piece explores the strengths of each—the darker tone of the traverse, and the recorder’s bright, crystalline timbre, which blended well in this offering. It was hot in the chapel, giving the strings fits with staying in tune, but perhaps some of the heat was audience enthusiasm. An energetic Badinerie, on soprano recorder, ended the concert in Bach’s Suite in A minor for recorder and strings. The closing spectacle of BFX10 was a late-afternoon con- There were two Renaissance instrumental sessions. cert in the form of a Vespers or evening prayer service: “Vespers The first, led by Piffaro’s Joan Kimball and Bob Wiemken in Venice from Monteverdi to Vivaldi.” Various combinations (at center in above photo by Charles Coldwell), focused on of singers, solo and ensemble, sang Psalm settings by Monte- Spanish and Portuguese Advent Vespers music that Wiemken verdi, Viadana, Rovetta, Marini and Vivaldi. Instrumental had discussed that morning. The pair also played shawms ensembles and some vocal pieces functioned as second and dulcians with the participants. antiphons for the Psalms. Crowding the stage area, musicians Sarah Mead (Brandeis University) presented two ses- performed at times as a remarkable grand band conducted by sions on the “Instrumental Roots of the Monteverdi Vespers.” Warren Stewart (artistic director of Magnificat). For a project Part I, a “music biography” of Monteverdi, covered music of that brought together so many diverse ensembles, the logistics composers that influenced and instructed the young Monte- worked well and the tutti pieces hung together. verdi, plus examples of instrumental music developing at that The strongest performances were by individual ensembles. time. Mead’s Part II included music from his contemporaries Particularly engaging was the Verbruggen trio’s performance of at the Mantua and rival (Gonzaga) courts. She stressed an Giovanni Battista Fontana’s Sonate Terza (1641). approach to performing Monteverdi’s Vespers from a Renais- The full chancel area of the church helped balance the sance perspective rather than a later Baroque musical idiom. sound. It was a treat to hear four theorbos in the continuo Herb Meyers’s lecture on “Instrumentation in the sections of some of the large ensemble pieces. The segments Monteverdi Vespers of 1610” touched on the question of what sung as plainchant showed a lack of cohesion, reminding us of Monteverdi meant when he indicated fiffari. Meyers argued the major challenges of putting together this sort of grand that they were transverse flutes played up an octave (at 4' finale. The house was quite full and applauded eagerly with pitch) and not shawms, and that Monteverdi’s flauto was a well-deserved accolades for festival organizers. recorder. Instrumentalists joined vocalists for the concluding (AR gratefully acknowledges contributors to this coverage: reading session of sections of Monteverdi’s Vespers, including Tom Bickley, Charles Coldwell, Gerry Greer, Greta Hryciw and “Lauda Jerusalem” led by Jeffery Thomas of American Bach Glen Shannon.) Soloists.

www.AmericanRecorder.org September 2010 17 The Sitka Experience: An Incredible Gift By Vicki Boeckman dency, so I was only able to be there The staff at Sitka is an incredible for 4½ weeks as opposed to the full six team. Each and every one is absolutely The author is a freelance performer and weeks. I was sorry to have “cheated” perfect at what they do, and each made recorder teacher based in Seattle, WA. She myself out of 10 days, but I wasn’t able me feel special, unique and important. teaches students of all ages and abilities in to schedule things differently this time They are utterly dedicated and her home studio and at the Music Center around. My personal recommendation genuinely interested in nurturing of the Northwest, as well as at various to anyone applying is to clear every- the power of the creative spirit in all of workshops around the U.S. She has thing on your schedule for the entire us. I think the silver thread that lines recently been appointed as recorder faculty time! I can not express emphatically all of their efforts is knowing that art for the newly-developed Early Music enough how important it is to carve and music make the world a better Department at Cornish College of the Arts. out this time for yourself. place. By enabling artists to thrive She is actively involved in the Seattle My project was to have undis- and thereby create more art, they Recorder Society and is the music director turbed and intense practice time to pre- help to create a better world. The for the Portland (OR) Recorder Society. pare six sonatas by Francesco Barsanti residency program would not for an upcoming recording session. exist without monetary support of he Sitka Center for Art and Ecol- My continuo team for the Barsanti donors, or the absolute dedication Togy is nestled amidst giant Sitka recording was Jillon Stoppels Dupree of the staff and volunteers. spruces, on a small part of the Cascade on harpsichord and Joanna Blendulf I arrived after the office had closed Head Ranch on the central Oregon on ’cello. I am happy to say that we on a Friday evening to a sweet welcom- Coast. It is within walking distance of finished recording on June 19, and ing note on my studio door, informing the Salmon River estuary; the Pacific it is all in the can! (Stay tuned for me that others were around if I needed Ocean can be seen from the campus. information on the CD’s release.) anything. As I unloaded my car, I It is in my opinion one of the most heard my name being called and fol- beautiful places in the western U.S. The one constant was the lowed the sound to arms waving and The Oregon Coast Recorder gesturing for me to join a small Society (OCRS) sponsors an annual therapeutic beauty of gathering in one of the brand new six-week recorder residency at Sitka. studios. Two writers had just finished I was the fortunate recipient for 2010. the nature all around me. their two-week residencies and were The Sitka experience is extremely having a good-bye celebration with personal and will have different effects Jillon and I have played together some of the other residents and staff. on different individuals, depending for several years in local groups in I felt immediately welcomed. on where they are in their own journey. Seattle, and I met Joanna while doing Sitka residents are given comfort- No one leaves there without being orchestral gigs with the Seattle able living spaces with fully equipped transformed in some way. Baroque and Portland Baroque orches- kitchens, so we were basically on our At the end of the stay, each resi- tras. Jillon and Joanna were able to take own for meals. Most artists (with the dent is asked to fill out an exit evalua- some time from their busy schedules to exception of the two-week writer tion. One of the questions was, “What “share” a part of the residency with me, residencies) are there for up to four advice would you give to future resi- so we had four intense and stimulating months at a time. Interaction with the dents?” My answer was, “cherish every days of rehearsing, hiking Cascade other residents can be as little or as moment.” The residency at Sitka is a Head, and sharing meals and laughter much as you want. If you are lonely, precious and invaluable gift of time, together. Their last day happened to there is always someone to share food space, beauty and inner reflection. coincide with the open house for the with; if you want your privacy and I truly wish for everyone to be able spring residents, so it enabled us to space, it is respectfully yours. to experience that at some point. have the opportunity to perform a The Winds and Waves Workshop, This was my second residency couple of the sonatas. (All artists-in- sponsored by OCRS, is held at Sitka at Sitka, so I knew what to expect in residence are required to present their and traditionally falls in the middle of terms of the impact that the space projects at an open house, which is a the recorder residency, so that the resi- would have on me. I had several wonderfully inspiring, varied and dent can be the rotating faculty mem- obligations at both ends of the resi- colorful event open to the public.) ber. The other three faculty who teach 18 September 2010 American Recorder each year are Frances Blaker, Tish headlands on the Cascade Head Berlin and Cléa Galhano. It was won- Reserve, or nurtured by the giant derful to work with them again, and Sitka spruces that reach out to thrilling to put together a faculty con- envelop and heal whatever may cert with just a few hours of rehearsal! ail you. After a couple of days of settling I would often stand in front in and refamiliarizing myself with the of my large living room windows area, I established a solid working while practicing scales and rhythm. I was appalled at just how arpeggios. Various wildlife crit- rusty I was in terms of my own agility ters would appear, and I would and dexterity. I set to work on basics— humor myself into thinking that hours and hours of long tones, scales, they had come to my window to arpeggios, my own exercises for myself, listen for a moment while they and various Baroque ornamentation graced me with their presence. Jillon Stoppels Dupree (l), figures. I was encouraged to find that A ground squirrel sat on a Vicki Boeckman, Joanna Blendulf it quickly paid off—after just a few railing just outside my window, all of your senses were brought to life days, I felt like a real recorder player grooming to perfection. What speed! —pleasing, awe-inspiring visuals; again. It was invigorating! What intent! I watched in amazement gratifying, intoxicating fragrances; Sitka is an extremely quiet place, at the speed with which its tiny paws tactile satisfaction. The very nature of so people would comment on how scratched behind its head and ears; I her medium, and of her warm, bubbly lovely it was to hear recorder music tried to finger a trill just as quickly… personality, was welcoming for anyone. in the air. I kept saying, “Oh, gosh, not a chance! A small and rather fat Since leaving, I have tried very it’s just scales and exercises; I’m not bird, one that I had seen neither before hard to keep the inner peace and focus really making any music yet…!” nor since, was so completely, vibrantly that I had while at Sitka. It is challeng- No two days were alike; the energy yellow that it literally was blinding in ing, being back in “real” life and back and inspiration to work was literally as the sunlight. I mused on the fact that it in my regular routine, but nothing can varied as the weather on the Oregon matched the silk forsythia flowers in take away the memories or the impres- Coast. Some days, everything flowed some potter’s creation on the window sions that I hold dear inside my head easily and effortlessly; other days were sill. It flitted back and forth, and in and and heart. difficult and clouded with self-doubt out of the tree just outside my window, I have one of Nancy’s little woven and criticism. as if wanting to linger; then it disap- containers in a place where I can see it The one constant was the thera- peared, never to be seen there again. every day. It is still very fragrant, and peutic beauty of the nature all around I had the pleasure and honor of I find it helps to inhale it deeply when me. I don’t think there is any place being inspired by and sharing the space I need to be transported back to the quite like it anywhere. You can be with six writers and one cedar bark calm of that magical place. empowered by the strength of the weaver. Nancy Olson learned the age- There are so many I want to thank: pounding Pacific Ocean—or soothed old art of gathering, preparing and Frank and Jane Boyden for your creative by the serenity of the view gazing weaving cedar bark from some of the spirits and for your vision 40 years ago; across the Salmon River or by the deer First Nation masters. Her studio was Eric, Jalene, Ernie, Rebecca and Dawn that come right up to your window. right next to mine and was nothing —most amazing and supportive staff; the You can be liberated by the expansive short of magical. One step inside and Oregon Coast Recorder Society; Corinne and Wade Newbegin for your unflagging, generous support; ARS for its professional grant. Thank you all a thousand times! The OCRS has raised enough money to ensure that the recorder residency has a solid future. The annual application dead- line is in mid-April. See the Sitka web site at www.sitkacenter.org to download the application and start thinking now about your project proposal!

www.AmericanRecorder.org September 2010 19 20th-Century Brazilian Repertoire for the Recorder: Three Generations of Composers n Brazil, since the middle of the Musical Characteristics: By Daniele Cruz Barros I 20th century, musical activities Three Generations in Context involving the recorder have centered Brazilian composers have been moti- The author is a professor at the Federal on early music, music education and vated by several factors to write pieces University of Pernambuco,Recife, Brazil, contemporary music. With the aim of for the recorder: educational objec- where she teaches recorder and investigating Brazilian music for the tives, experimentation with sound, is music director of the UFPE Recorder recorder composed in the 20th cen- and/or partnerships involving com- Consort specializing in early music and tury, I interviewed recorder players, posers with performers, teachers, 20th century music. She holds degrees from teachers, composers and music event students and ensembles. The content the Conservatório Brasileiro de Música producers who, through their of the interviews, which I held with (Master of Musicology) and Université accounts, helped to clarify issues 34 of the 48 composers who were de Paris IV–Sorbonne, France (Doctor of regarding the music and its creators. originally approached about my Musicology). In 1998, she received a In this article, I will start with a doctoral research, allowed me to Brazilian scholarship to attend description of the repertoire’s back- classify, by generation, the creators of Conservatory Nadia Boulanger, ground, summarized from my Ph.D. the 20th-century Brazilian recorder Paris, to study with Laurence Pottier. dissertation La flûte à bec au XX ème repertoire. The first generation consists siècle: l’exemple du Brésil (The recorder of those composers born up to 1940; She is the author of the book A flauta in the twentieth century: Brazil as an the second generation, those born doce no século XX: o exemplo do example, approved in October 2007 at between 1941 and 1960; and the third Brasil and the editor of the anthology the Université de Paris IV–Sorbonne, generation, those born in 1961 or after. Caderno de Música Pernambucana France), in which 160 works, from a In the 1970s, Brazil’s national for the recorder. She also translated (from list of more than 200, are analyzed recorder competition, sponsored by French to Portuguese) the three volumes of and discussed. the Brooklyn Paulista Conservatory the recorder method by Laurence Pottier. Following that is an analysis of of Music in São Paulo, kindled an She currently researches Brazilian some particular works and composers. interest in this instrument among repertoire for the recorder. Specifically, having discussed charac- several composers, whose professional teristics of the repertoire—which I activity was mostly in São Paulo. One Daniele Cruz Barros is coordinator for the classify according to one of three gen- positive result of the competition was IV National Meeting on the Recorder, erations to which each work’s com- that a considerable number of pieces set for October 8-12 at UFPE. poser belongs—I have chosen six for recorder were published at that For information, see pieces to illustrate the generations. time, by publishers such as Ricordi www.ufpe.br/encontroflautadoce. Brasileira, Musicália, Novas Metas Brazilian composers and others. have been motivated by For many composers from the several factors to write first generation, the recorder also pieces for the recorder: represented quite an efficient means educational objectives, for the musical education of children. experimentation with Many created a repertoire—until then sound, and/or part- non-existent in Brazil—with the intent nerships involving of developing teaching activities using composers with the recorder. Others, who were not performers, teachers, teachers, created pieces for colleagues students and ensembles. who needed musical material for work with the recorder in the classroom.

20 September 2010 American Recorder In the second generation—made Musical Characteristics: treatment. These sometimes appear up of 10 composers who were geo- Specifics as whole elements, and at other times graphically widespread—I did not In my Ph.D. dissertation, I analyzed are fragmented or modified. identify any motivation to write for a total of 160 works that were com- Besides the modes and themes, the recorder that was as precise as an posed over a period of almost five the first generation of composers institution or an event. Besides the fact decades. Bearing in mind the large for the recorder availed themselves that the compositions date from the quantity and heterogeneity of the com- of Brazilian rhythms, genres and 1980s, what defines this generation is positions examined, below is a sum- instruments. The baião rhythm, for mainly its connection with contempo- mary of some characteristics typical of example, was used often by this group rary music and a desire for new sound the researched repertoire. I will point of composers. Percussion instruments experiences. The recorder, like other out the main qualities in common for historical instruments, represented for each generation, giving as examples these composers a novelty in terms of certain composers whose work simulta- timbre and contrast. One should not neously illustrates both variety and forget that this generation also wrote specificity of approach to the recorder music for musicians (colleagues and in Brazil. students) and ensembles whose work In the first generation, despite involved the recorder. I consider these the existence of pieces showing avant- composers’ works to be a transition garde techniques and material, the between the first and last generations. majority of the composers used more The third generation comprises conventional musical material—often 17 composers, many of whom live in linked to nationalistic principles, fairly Rio Grande do Sul, a state in southern frequently showing a folkloric and/or Brazil in which activities involving the neoclassical inspiration. Among the recorder are currently thriving. These elements of folk origin found in the composers have an ongoing interest in works of this generation, I would writing for this instrument, probably highlight the modal scales that are due to the close interaction between so common in Brazilian music: lend a very Brazilian color to the reper- the composition and recorder classes · Mixolydian – major scale with toire. These include the tamborim (a at the Federal University of Rio lowered seventh degree (for frame drum about 6” in diameter, with  Grande do Sul. instance, C-D-E-F-G-A-B -C) one head usually played with a wooden The output of this generation · Lydian-mixolydian – major beater, common in dance music like also includes pieces for the recorder by scale with raised fourth and the samba); agogô (an Afro-Brazilian young composers from other states in lowered seventh degrees instrument used in Brazilian folk   Brazil—such as Ceará, Minas Gerais (C-D-E-F -G-A-B -C) music and in the samba, two bells and Pernambuco. Many times these · Lydian – major scale with raised with contrasting pitches and a  works are suggested by other recorder fourth degree (C-D-E-F -G- U-shaped metal handle, played with players, or are written because the A-B-C) a beater); zabumba (a large wooden composers themselves are instru- · Aeolian – minor scale without drum with heads at both ends, played  mentalists who play the recorder. leading tone (C-D-E -F-G- with a beater, often used for baião);   I must point out that in Brazil, as A -B -C) and the triangle. in other countries, the dialog among · Dorian – minor scale without Further examples of the use of composers and performers has been leading tone, with raised sixth elements of Brazilian music include    indispensable for the evolution of the degree (C-D-E -F-G-A -B -C) pieces inspired by Amerindian music recorder’s repertoire. This is true, Other elements found in the and by popular urban music. In the in one way or another, of factors repertoire of this generation also derive last case, one can hear typical har- including motivation to compose for from Brazilian folk music—for monies from bossa nova, among the recorder, technical knowledge of instance, themes of traditional songs other characteristics. the instrument, and the likelihood that normally receive a harmonic In compositions for the recorder, of pieces being performed. accompaniment or a contrapuntal some composers like Bruno Kiefer and

www.AmericanRecorder.org September 2010 21 Eduardo Escalante opted to align · Works whose form is a single, traditional elements with a contempo- uninterrupted movement In the third generation rary language, causing quite interest- · Experimentation with timbres of composers, the ing contrasts. Others, like Ricardo · Broadening of instrumental use of contemporary Tacuchian, conceived essentially techniques experimental pieces. · Emphasis on the importance instrumental techniques As far as the specific choice of of rests, breaths and silence. is carried out in a very instruments, this generation appears It is in this second generation that natural manner. to have a preference for the soprano the resources of contemporary instru- recorder, often with piano accompani- mental techniques for the recorder are In the third generation of ment. widely used—among them, multi- composers, the use of contemporary The output of the second genera- phonic sounds, flutter-tonguing, instrumental techniques is carried out tion of composers shows practically vibrato and microtones. in a very natural manner. The effects no traces of the nationalistic influence Also worth pointing out within sound well integrated in relation to the present in that of the previous genera- this group of composers is the use of way pieces are conceived, and are no tion. It is in this group that we see lower-pitched recorders, such as tenor longer exotic elements to be explored. examples of dodecaphonic (12-tone), and bass, in solo works. In some, This can be perceived, above all, in the electroacoustic and serial pieces. players are required to change from works of composers such as Felipe Among the unconventional elements one recorder to another within the Adami, Fernando Mattos, Antonio analyzed in the works of this same movement, or in the same Celso, Jorge Meletti, Martin Heuser, generation are: musical piece. This reinforces the Christian Bevenutti and James Correa. · Presence of atonal music impression that a broader range of The free use of instrumental tech- (music without a tonal center) instruments is being used—quite niques and compositional processes, · Absence of the notion of melody common in 20th-century music. along with the variety of materials · Rhythmic discontinuity utilized, marks another phase in the Brazilian repertoire for the recorder. In addition, the co-existence within Strings & Early Winds the same piece of diverse musical tech- R niques and elements—nationalism, Modern/Baroque Strings Viols Vielle modalism, orientalism, neoclassicism, Küng Moeck Mollenhauer Paetzold Yamaha Ehlert serialism, minimalism—may be attrib- E Wenner Baroque flutes uted to the post-modern ideas being explored in Brazil, especially in the Wendy Ogle Lu-Mi Ifshin Snow 1980s. C Competitive Prices When considering these three Sent on Approval Personalized Service & Advice generations, I am struck by an inter- O esting parallel. The first generation is predominantly conventional in its approach, yet includes some experi- R mental works. In the third group, despite a strong contemporary ten- D dency, one can find pieces composed in a nationalistic spirit—quite close to E those of the first generation in the use of traditional elements. This is the case of Fernando Mattos, Dimitri Cervo R Lazar’s Early Music and Liduíno Pitombeira. (866) 511-2981 [email protected] The following works exemplify S www.LazarsEarlyMusic.com those characteristics I have pointed 425 N. Whisman Rd., #200, Mtn. View, CA 94043 out as being the main ones of each generation studied. 22 September 2010 American Recorder Examples from the Brazilian Repertoire: First Generation

Sérgio Vasconcelos Correa, Nine Variations on the theme of “A maré encheu” for soprano recorder and piano The theme of “A maré encheu” is a traditional children’s song, developed here by Sérgio Vasconcelos Correa in the form of nine variations. Although the recorder melody maintains a simple and diatonic character during all the variations, the piano treatment—whole tones, superimposed harmonies built on intervals of fourths or fifths, polychords, dense chromaticism—reinforces the idea of dichotomy, in which the two instruments do not mix. Among the elements that are characteristic of Brazilian music are a variety of modes: D Dorian in variation 2, F Lydian in variations 8 and 9, E Phrygian in variation 3, among others. Besides the theme and modal scales, another allusion to Brazilian music is made through the presence of rhythms and other elements that evoke traditional genres such as baião and maxixe (an urban dance that appeared in Rio de Janeiro in about 1875, with a rhythm combining Brazilian tango and habanera, plus elements from the polka and Afro-Portuguese syncopations).

Ex. 1. Nine Variations on the theme of “A maré encheu”: theme.

Ex. 2. Nine Variations on the theme of “A maré encheu,” Variation 2, recorder: Dorian mode variation on the theme.

Ex. 3. Nine Variations on the theme of “A maré encheu,” Variation 9, piano: Baião rhythm in the left hand.

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www.AmericanRecorder.org September 2010 23 Bruno Kiefer, Poemas da Terra for recorder quartet (SAAT) The piece Poemas da Terra for four recorders (SAAT) is made up of five Poems in which the composer, using a very personal style, alternates traditional material with others having more contemporary characteristics. This is the case in the fifth Poem, Saudoso, which can be translated approximately as “homesick.” In Saudoso, the modal melodies—inspired from the gaucho folklore (originating in Rio Grande do Sul, Brazil)—contrast with dissonant, atonal passages and those built on irregular rhythm. This Poem’s form is ABABA, with the A section comprising both C major and F Mixolydian versions. The B section is marked by the use of chromatic notes, unequal rhythmic gestures and the absence of melody in the conventional concept of the term.

Ex. 4. Poemas da Terra, Poem 5: contrast between material in bars 8-15 and 16-25.

Ex. 5. Poemas da Terra, Poem 5, alto recorder, bars 1-5: A section in C major.

Ex. 6. Poemas da Terra, Poem 5, alto recorder, bars 26-29: A section in F Mixolydian.

24 September 2010 American Recorder Examples from the Brazilian Repertoire: Second Generation

Paulo César Chagas, É o silêncio for alto recorder solo É o silêncio is an atonal piece with many microtonal inflections, in which the composer uses expanded techniques. In the first section, the notion of time is quite vague due to the absence of time signatures, and due to the arrangement of long note values that are subtly transformed through micro-intervals and continuous vibratos and trills on several notes. In the second section, contrasting and more energetic, one can find chromatic fragments that build a bridge to the third section, where material from the first part returns, with the addition of new elements. The composer of this piece implies that breathing must be audible and rests must be noticeable. It is interesting to observe that the diminuendo at the end of the piece is emphasized by a microtonal descent in pitch. This piece requires a considerable level of technical ability.

Ex. 7. É o silêncio: use of microtones.

Ex. 8. É o silêncio: use of multiphonics.

Ex. 9. É o silêncio: final diminuendo.

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www.AmericanRecorder.org September 2010 25 Harry Crowl, Revoada for one recorder player, alternating alto and tenor recorders Developed in a context of free atonalism and written as a single, uninterrupted movement, this piece comes across as a type of lament, enriched by Harry Crowl’s use of microtonal lines. The lack of meter and improvisational character, added to the effects derived from contemporary instrumental techniques such as vibrato and flutter-tonguing, evoke the birds mentioned in the title: Revoada, which can be translated approximately as “birds in flight.” Of the three sections—distinguished above all by the different timbres utilized —the first and third contain similar material. The second section contains the tensest moments of the piece. Written for one recorder player, Revoada requires that performer to alternate between alto and tenor recorders. The use of flutter-tonguing and groups of fast, irregular intervals require especially precise tongue articulation.

Ex. 10. Revoada: microtonal lines.

Ex. 11. Revoada: flutter-tonguing and groups of fast notes using irregular intervals.

Ex. 12. Revoada: use of vibrato and glissando.

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26 September 2010 American Recorder Examples from the Brazilian Repertoire: Third Generation

Felipe Adami, Sonetos de Amor for alto recorder (movemts. I, III, IV) / tenor recorder (movemt. II) and piano Inspired from Pablo Neruda’s Sonnets XI, XLVII, LXII and C, the four movements of this piece are arranged in the order of a day’s cycle: Morning, Midday, Afternoon and Night. Morning uses material that is almost monothematic, starting from a set of notes that emphasize D and E. In Midday, material of the same nature alternates with chords of superimposed thirds, with varied textures and a type of polytonality between the recorder and the piano. Afternoon shows minimalist influence, with a kind of rhythmic phase between the piano’s right-hand ostinato—a repeating figure of seven eighth notes—and musical material played by the piano’s left hand and the recorder. Night presents quite a vague sense of pulse; while the right hand maintains continuous 16th notes, the recorder and the piano’s left hand blur the sense of pulse to varying degrees. The composer achieves this through the use of long notes, triplets and syncopation. The four movements of this piece are Throughout, extended recorder techniques are utilized, such as simultaneous singing and blowing, flutter-tonguing, arranged in the order of a day’s cycle: multiphonics, wind sounds, etc. Despite the constant changes, the piece conveys a sense of unity and an Morning, Midday, Afternoon and Night. idiomatic language for the recorder.

Ex. 13. Sonetos de Amor, Afternoon: piano, bars 1-8, seven-note figure in right hand.

Ex. 14. Sonetos de Amor, Night: recorder and piano, bars 1-11; the pulse is not clear.

www.AmericanRecorder.org September 2010 27 Ex. 15. Sonetos de Amor, Midday: recorder, simul- taneous singing and blowing

Liduíno Pitombeira, Variações sobre o Juazeiro for recorder quartet (SATB) This piece was written in honor of the popular composer Luiz Gonzaga (1912-89), who is known in Brazil as the “king of baião” and whose songs include “Juazeiro.” Its three variations retain the traditional modal melodic writing. Variation I is in G Lydian-Mixolydian and Dorian, with the material building by augmentation and diminution on the theme. The slow intermediate movement presents rhythmic-melodic motives in ostinato, over which the theme appears inverted and backwards. In the faster variation III, a version of the melody appears in a minor key. From a harmonic point of view, the composer freely uses superimposed chords of thirds and fourths. The three lower recorders perform a role essentially like that of percussion, whose rhythmic richness is based on the traditional percussion used in the baião. The resulting polyrhythms demand ensemble cohesiveness.

Ex. 16. Variações sobre o Juazeiro, Variation 3: G Lydian-Mixolydian mode, showing polyrhythms.

Ex. 17. Variações sobre o Juazeiro, Variation 3, soprano recorder, bars 79-83: excerpt from melody set in minor key.

In conclusion, each of these composers exhibits an individual style, which imparts diversity to the modern recorder repertoire of Brazil. Some of the musical and “extra-musical” aspects allow one to group them into three generations. The first generation, technically and aesthetically more conventional, nevertheless includes examples of musical experimentation. The second group of composers plays a transitional role, in which one can find the use of a more contem- porary musical idiom and non-conventional writing for the recorder. In the works of the third generation, the composers create a fusion of all the paths followed up to that time, producing a repertoire that is quite up-to-date in its musical conception and in its approach to the instrument. Currently, there are few printed music publishers in Brazil; therefore, composers usually prepare their own scores and parts. To facilitate access to the specific repertoire discussed in this article, scores of the pieces described above are provided on the ARS web site (accessed by following links in the online version of American Recorder). The examples in this article and the scores online are used with the kind permission of the composers. Also online is the list of all 160 pieces that were considered in my dissertation and as the basis for this article. www.nicholaswww.nicholas---wynne.co.ukwynne.co.uk Original sheet music for recorders and a variety of other instruments. Instantly available as pdf downloads or as hard copies by post

28 September 2010 American Recorder Education ______Collaboration for the Benefit of Students By Mary Halverson Waldo, [email protected]

oung recorder players are always Ylooking for playing and perform- ance activities. Where can such stu- dents find chances to be inspired, motivated and recognized in their study of the recorder? And how can they develop musical relationships with their peers who play the recorder, Recorder section rehearsal, preparing for the Biber ensemble as well as those who play more at the Suzuki conference: Renata Pereira plays bass, at left; “mainstream” instruments? Mary Halverson Waldo, center; students from Edmonton, Along with frequent, low-stakes Alberta, and Minnesota (photo by Pierre Yves Gagnon) performance opportunities for soloists and groups of all ages within my studio group lessons, as well as the physical Seven American and Canadian and classroom, I have found that col- activity of learning basic Baroque students between ages 7 and 16, whose laboration with other teachers and dance steps and gestures. video auditions were accepted for the studios can be highly beneficial. A different collaborative oppor- conference, prepared solo pieces to be A few examples follow. tunity came through the Suzuki Asso- played in master classes with Patrick In late February, when students ciation of the Americas (SAA), at O’Malley, and worked on assigned were experiencing the seasonal dol- its 14th Biennial International Con- ensemble music—in this case, the drums, I joined forces with a flute ference (held May 27-31 in Minneap- well-known Sonata Pro Tabula in 10 colleague and organized a weekend olis, MN) entitled “Teamwork.” The parts (five recorders, five strings and Winter Winds Workshop. With the SAA found multiple ways to include basso continuo), by 17th-century critical mass of two studios, and the recorder among the other featured German composer Heinrich Biber. help of our music school parent organ- Suzuki instruments by involving the ization, we were able to bring in students and teachers in master classes, The recorder students guest teachers—including Patrick consorts, and a mixed instrument had the added benefit of O’Malley (below, photo by Nancy Baroque chamber music ensemble. playing music with peers Maloney) for the recorder students, The SAA conference also offered and the thrill of working Russell Packard, a local World Music a session on happenings in Suzuki specialist, and even a studio parent recorder and flute in Latin America. alongside several young who is an art teacher. Kids of all ages Brazilian performer Renata Pereira professionals. (not to mention teachers!) enjoyed (of “Quinta Essentia” Recorder invigorating, fresh ideas in solo and Quartet, São Paolo) and I joined two The recorder students were famil- flute teachers, from Canada iar with the “language” of early music, and Argentina, in describing but what did Suzuki string players the teaching we have all been know about 17th-century performance doing in various parts of Latin practice? Through well-planned team- America. Session attenders work, several recorder and Baroque were invited to sight-read string teachers and young professionals several delightful compositions worked alongside all of the students in by Latin American composers. multiple rehearsals over three days of the conference weekend, bringing the www.AmericanRecorder.org September 2010 29 ensemble to an exciting final perform- These are just a few examples of ance. Along with intensive study and what can be done to enrich the musical performance of Baroque chamber lives of young recorder players. All it music, the recorder students had the takes is planning, and a willingness on added benefit of playing music with the part of key adults to collaborate peers and the thrill of working along- on behalf of the students. side several young professionals.

Technique Tip Memorize your Music

A suggestion I overhear in master classes from more than a few world-class teacher/performers is, “You should try to memorize your music.” (Many of you will stop reading this right now.) What does this have to do with technique? Through the process of memorizing, you can’t help but become much more intimately acquainted with a particular piece, whether a solo or an ensemble part. When you’ve internalized the actual music (not just the notes), with your eyes off the printed page, your ears are instantly freed up to more keenly hear your own tone quality. Likewise you feel your performance kinesthetically—your breath, tongue, fingers, resonance, and your whole body’s involvement in the music. I’m not saying you have to perform the memorized piece publicly without music; but rather to have it prepared to the extent that you are really not relying on your eyes to know how to play it. If you are one among many who say, “I just can’t memorize music,” please know that it is simply a learned skill, especially if you begin with an easier piece which you already know in your heart and mind so well that you can easily sing it. Use the printed page, and start with one phrase, or even a half phrase. Give yourself plenty of tries ’til you think it’s solidly memo- rized (then add a few more). Don’t forget to practice it every day. Mary Halverson Waldo

30 September 2010 American Recorder Music Reviews ______Music to travel by, and to play for holidays FOUR PORTUGUESE FOLK- to find the shape of the phrases for the parts. The ensemble is challenged to SONGS, BY LANCE ECCLES. most effective performance. It ends find the correct blend of the parts for the Orpheus Music OMP199 abruptly, which can be effective if done dissonance to be effective, but the result (www.orpheusmusic.com.au), intentionally. is well worth the effort. 2008. SATB. Sc 9 pp, pts 4 pp ea. “Cornfields” has very challenging “Charred Christmas Tree (Tennen- Abt. $20.50 publ.; abt. $7.50 as .pdf. rhythms, alternating between a duple 6/8 baum)” is a humorous twist on the often BLACKENED PETALS, BY LANCE and a triple 3/4. Since the parts often play sentimentalized song. It begins with the ECCLES. Orpheus Music OMP202, 6/8 in one against 3/4 in the others, or tune partially hidden by various distor- 2009. SAATB. Sc 5 pp, pts 2 pp ea. other combinations, each player must tions and modulations, and moves slowly Abt. $18.50. keep a solid sense of the tempo. We into a more recognizable form. The piece Lance Eccles is one of Australia’s found it best to practice parts with simi- finally ends with the familiar melody and leading composers/arrangers. He lar rhythms together, before adding the harmonies. This would be a delightful arranges in a very individual and acces- cross-rhythm. Also, it starts low in the bit of humor for a Christmas program. sible manner. The edition provides as range in the bottom three parts, making Both of these pieces could be used background that he was a member of it difficult for them to establish the with multiple players on a part, with the Reluctant Consort for 20 years. rhythmic base for the piece before the the exception of the soprano line, Many of his recorder compositions and entrance of the soprano line. This piece which would be best left as a solo arrangements have been written either takes work up front, but is very satisfying by an excellent player. for that group, for the Sydney Society of when it all comes together. Bruce Calvin started playing recorder Recorder Players or for Batalla Famossa. “The Dove Fell into the Sea” is a in college some unspecified years ago, and has He recently retired as a senior lecturer jazzy and bright piece, each part moving reviewed videos and books for professional in Chinese at Macquarie University. independently. It starts with the lower library publications over the years. He is one Our group found all of these review three parts setting the mood by playing of five people who meet weekly in the Wash- pieces to be enjoyable, with some likely in unison for eight measures, until the ington, D.C., area to play recorders together. to become regularly-used favorites. soprano comes in with the tune. Then The group enjoys Renaissance through con- Four Portuguese Folksongs includes the top three lines engage in echoing temporary music, performing occasionally for four short pieces that are appropriate for or contrasting with each other while special church events. an intermediate-level group, each with the bass provides a ground. its own challenge and twist on the tunes. Blackened Petals includes two con- Since we were not familiar with the folk temporary pieces that use dissonance to songs, markings to show phrasing would create different kinds of moods for each have helped to show the shape of the piece. The publisher aptly describes this tunes in all four pieces. set as “slightly perverse” versions of “Oh Ciranda” is easy to play, familiar songs. with the soprano carrying the melody “Black Cherry Blossoms (Sakura)” throughout and other parts serving as sets a traditional Japanese folk song accompaniment. It has a calliope-type within dissonant chords into a unique effect. and beautiful setting. The soprano and “My Love Gave Me a Handker- two alto recorders are often high in their chief ” is light and dance-like, with the range, and the parts need to be played tune alternating between the soprano sensitively and in tune in that range for and alto lines. The danger is to play it the piece to be effective. The bass pro- note by note, and it took us a few times vides the rhythmic anchor for the other

www.AmericanRecorder.org September 2010 31 MUSICALISCH DIVERTISSE- audience for this collection would be E minor would have been quite feasible. MENT (1699/1700), BY JOHANN continuo players looking for practice in A bit of double-tonguing is needed here. FISCHER. FACSIMILE ED. PUBL. playing unfigured bass in a relatively “El Tortillero” is in A major, and UNDER THE DIRECTION OF JEAN straightforward repertoire. Although although not technically complicated in SAINT–ARROMAN. Editions Fuzeau Fuzeau lists recorder as first preference this key, it would perhaps be a little easier classique 50114 (www.editions-clas for the top part, Fischer lists violin, then to tune in G (with no recasting of parts).  sique.com), 2007. Vln/oboe/rec, bass. oboe, then recorder. All the music but For the same reason, “El Costillar,” in A Pts 16 pp ea.Abt $13. one movement fits on alto recorder but major, might fare better in G or even F. Johann Fischer’s collection, lies rather low; soprano and tenor are No player will feel subordinate for Musicalisch Divertissement, is aptly also possibilities. very long in any of the selections. Diaz named, consisting as it does of four Scott Paterson, a former ARS Board has taken care to provide moments of suites, each a loose collection of an over- member, teaches recorder and Baroque flute, dialog among players. Harmonies are ture and seven short dance movements. and is a freelance performer. He has written fairly conventional, but seventh and While not of great scope, the movements on music for various publications for over 25 ninth chords, as well as modal inflec- have good character and effective years, and has just opened his own studio in tions, appear from time to time to add rhythmic and harmonic color. Some the Toronto area, after over 30 years at the color. Upper voices moving in parallel movements are easy enough for begin- Royal Conservatory of Music of Toronto. thirds and sixths, mariachi-style, are ners, and all would be approachable by characteristic. Negotiation of the jaunty lower intermediate players. LATIN AMERICAN SONGS 3, rhythms is the main challenge in these Each suite begins with a French COMP./ARR. JUSTO DIAZ. Orpheus pieces, although these will come more overture, and the whole collection is Music OMP200, 2009. SATB. Sc 15 easily to those familiar with the Latin very much in a late17th-century French pp, pts 3 pp ea. Abt. $25 publ.; idiom. style, right down to the composer’s invi- abt. $12 as .pdf. All but two of the selections are in tation to add two or three inner parts This is the third in a series of Latin triple meter. In four of the 6/8 pieces, the for a fuller effect. American song quartets that Justo Diaz bass plays a nearly continuous 2+2+2 While it is good to have these little has prepared for Orpheus, whose catalog accentuation pattern (hemiola) against pieces available in facsimile, there are boasts an impressive amount of folk the 3+3 of the melody. All eight pieces considerable challenges involved in music from around the world. The are upbeat; a couple of slower, lyrical working from the original print, even third volume contains eight short pieces tunes would have been nice for variety. though the clefs are modern treble and —three original compositions and five The Orpheus web site does not bass. Most notably, the bass is unfigured arrangements. offer a difficulty rating for this volume. and the parts are printed separately, so Diaz has set the primarily penta- The reviewer, however, would venture  the continuo player will need a good ear tonic “Fiesta da San Benito” in F minor, “moderately easy.” and a good understanding of the style. perhaps because, in the more convenient Justo Diaz is a versatile performer There are, as would be expected, idio- E minor, the part would exceed the alto’s and composer based in Australia. Details syncrasies of notation, such as a lack of lower range. Oddly, at the point where of his career and activities appear at: beams on the eighth and 16th notes, and the alto is at the bottom of its range, the www.australianjazzagency.com.au/ the notation of hemiolas across barlines. tenor is actually playing higher! Diaz acts/cambalache/. There are also occasional misprints, need only have swapped the alto and Anthony St. Pierre lives in Toronto and mostly rhythmic inaccuracies, some of tenor lines in bars 13-21, and key of has composed extensively for recorders. His which are easier to resolve than others. Folia à 4 earned third prize in the 2007 KEY: rec=recorder; S’o=sopranino; Unfortunately, half of one of the S=soprano; A=alto; T=tenor; B=bass; Chicago ARS chapter's composition competi- overtures is missing in the bass part! gB=great bass; cB= contra bass; Tr= tion and may be heard at: www.folias.nl. However, if this (and some rather faint treble; qrt=quartet; pf=piano; fwd= Several of his recorder compositions are foreword; opt=optional; perc=percussion; barlines) can be forgiven, Fuzeau’s pp=pages; sc=score; pt(s)=part(s); available for free at http://pages.ca.inter.net/ presentation is generally quite clear and kbd=keyboard; bc=basso continuo; ~abelc/compositions.html. St. Pierre holds a hc=harpsichord; P&H=postage/handling. attractive. As a low-cost edition, there are Multiple reviews by one reviewer are fol- B.Mus. in composition from The Ohio State no editorial notes, so performers will lowed by that reviewer’s name. Publications University and M.Mus. in historical per- need to do their own research about the can be purchased from ARS Business Mem- formance practices from Washington Univer- bers, your local music store, or directly from background to the collection, as well as some distributors. Please submit music and sity. In the 1980s, he played oboe with the matters of performance practice. books for review to: Sue Groskreutz, Tafelmusik Baroque Orchestra and with the Given the difficulties involved in 1949 West Court St., Kankakee, IL 60901 Studio de musique ancienne de Montréal. U.S., [email protected]. using the facsimile, perhaps the ideal 32 September 2010 American Recorder MUSIC FOR HALLOWE’EN, BALD IST HEILIGE NACHT, BY BY DAVID JOHNSON, ED. JOHN As the name suggests, CHRISTIANE FISCHER. Edition Peters TURNER. Peacock Press PJT 026 11217 (www.edition-peters.com), (Magnamusic), 2004. A solo. it is ideal for recitals 2008. SATB. 2- & 4-pt combinations. Pt 4 pp. $9.75. Sc 46 pp, pt 8 pp. $25. David Johnson, born in Edinburgh near Halloween. The subtitle (beliebte Weihnachts- in 1942, is an active musicologist and lieder leicht gesetzt für 2 und 4 Blockflöten) composer in Scotland who has written (a good sign). Towards the end, he lets indicates that this volume contains numerous pieces for recorder. He has his creatures slow down and finally rest popular Christmas carols. Since this dedicated one of his pieces, the cantata on a promising note that gently leads to is a German publication, be advised God, Man, and the Animals, to John my favorite movement, called “Slow, that what is considered “popular” in Turner, the editor of Music for Hallow- expressive, rather free.” Here, some Germany may be completely unfamiliar e’en. Johnson wrote Music for Hallowe’en windy creatures seem to dance and to others. Those well versed in global for Miss Mary K. Macdonald, a family tease like in a dream. The player does Christmas songs and/or Christmas friend, when he was only 18 years old. not know if he gives life to benign or music from various centuries will find Turner, born in Manchester, is harmful figures. many recognizable pieces in here. It a prominent British recorder player. This movement will benefit from could also be a good way to introduce He started as a flutist and intended to experimentation with the breath, perhaps students to the Christmas music of other study law, but when he became David employing vibrato or different sound lands, as some may not realize that not Munrow’s duo partner, he couldn’t effects. Only the transitions in broken every culture sings the same songs at stop playing the recorder. scales don’t really seem to fit the dreamy, Christmas time. Music for Hallowe’en is appropriate melodic character of the piece. (Or did The pieces are divided up into four for intermediate players, and, as the I simply fail to recognize the flying sections: children’s songs for Advent and name suggests, it is ideal for recitals near broomsticks?) Christmas, songs for Advent, shepherd Halloween. Although “contemporary,” it The last movement, “Fast,” sounds songs, and Christmas songs from is completely written in traditional nota- like a bold, wild dance. It requires pre- Germany and Europe. The last page tion, which will please those players who cise finger technique and dynamic air is a fingering chart for both F and C tend to hesitate with arduous, page-long flow. Also, it is loaded with challenging fingerings. manuals for modern notation. The red but effective trills. Sonorous legato parts The soprano recorder always has the booklet, with a drawing of Turner play- alternate with delicate staccato usage. melody, usually accompanied by another ing the recorder, is appealing to the eye; Unfortunately, the wild dance does soprano, or an alto, tenor or bass in the print is easy to read. not come to a convincing end. Although combinations of two and four parts The foreword states Johnson’s apparently the key center, the last note (a couple are for soprano solo). intentions in his three-movement piece: feels neither like the conclusion nor like There are multiple accompaniment “This suite describes the festival of an open ending to me. Also, I suspect options within the collection, making it Hallowe’en which takes place in Scot- that the piece would benefit from more a good book to use with students at land on 31st October. Processions of modern, bizarre and experimental different levels and/or those learning wizards, witches and goblins are suc- recorder techniques, especially with the ensemble playing. There are even a ceeded by flying broomsticks and dedication to Halloween. few accompaniments for an Orff-style macabre dancing, all only half visible Mirja Lorenz was born in Lübeck, xylophone. in the darkness.” Germany, into a musical family. She learned In my mind, the only potential Altogether, Music for Hallowe’en her first recorder notes on Sunday mornings drawback is that all the words to the represents a successful addition to the in her mother’s bed, accompanied by a carols are in German (with no trans- recorder repertoire. Opening the pages lingering smell of coffee and motivated by her lations). However, for some, that of Music for Hallowe’en, the innocent mom’s morning hugs. She studied recorder in could be a plus. player does not know into which shady Duisburg, Germany, with Gudrun Heyens, Valerie E. Hess, M.M. in Church creatures he is about to breathe the and later in Utrecht, The Netherlands, with Music/Organ from Valparaiso University, breath of life. Heiko ter Schegget, while teaching the is Coordinator of Music Ministries at Trinity The piece starts with a cute, play- recorder in local music schools. When she Lutheran Church, Boulder, CO, where she ful march of imaginary little creatures. came to the U.S. in 2002, she allowed her directs the Trinity Consort. She has also Johnson shows a good feeling for the use recorder a break in favor of a Bachelor’s published two books on the Spiritual of staccato, which made my baby giggle degree in English Literature. Disciplines.

www.AmericanRecorder.org September 2010 33 Chapters & Consorts ______March is always Play-the-Recorder Month! Play-the-Recorder Month (PtRM) and playing music. CMRS won a gift The chapter won a gift certifi- was celebrated in March and certificate from Performer’s Music, cate from Lazar’s Early Music, Recorder Day! was March 20, 2010. www.performersmusicchicago.com. http://lazarsearlymusic.com. Groups and chapters all over the U.S. Greater Denver Recorder Desert Pipes (DP) of Phoenix, held events in celebration. The ARS Society, www.denverrecordersoci http://members.cox.net/desertpipes, held its annual Play-the-Recorder ety.org, sponsored an all-day English was another winner. They wrote, Month Contest, which was judged by Country Music and Dance Workshop “We had one exciting, big celebration, the Chapters & Consorts Committee. with guest presenter Pat Petersen (l). a 50th Anniversary Party! After ARS First place went to Rochester (NY) The col- Board member Bonnie Kelly’s visit to Recorder Society, www.rochars.org, laboration a chapter workshop in 2009, at which which held five events: a garden show, of 33 early time she presented us with a certificate performances at two libraries and an musicians, of recognition of our chapter’s history, elementary school, and a workshop who we learned that our chapter is actually with Eric Haas. Forty third-grade practiced older than we thought. It was in 1958 beginners played Hot Cross Buns with works by that the Phoenix Recorder Society was the society members, and played Purcell and founded by Sanford Kaye, a former drones and percussion in a dance piece. Handel student of Erich Katz in New York The quartet demonstrated recorders of early in the City. Mr. Kaye is over 90 years old and different sizes, great bass through day, and still living in the Phoenix area. His son garklein. 24 country shared early chapter documents with The garden show and library dancers us, including a copy of the chapter programs were advertised by the chap- who charter granted to the Phoenix chapter ter, and e-publicity sent to nearby attended by the ARS in 1962. We ‘averaged’ the chapters and players about the work- afternoon two dates 1958 and 1962 and decided shop. The morning host on the NPR and evening sessions, was also an to celebrate our 50th birthday this year, classical music station was asked to opportunity for the musicians to in 2010.” regularly play recorder music during dance the pieces learned. The anniversary celebration was the month of March, which she did. Denver chapter also had its usual held at a Phoenix church convenient Rochester’s prize was a gift “Recorder Faire” at the wonderful for players from Payson and Prescott. certificate donated by Von Huene bookstore, Tattered Cover. Chapter About 30 people performed or con- Workshop/Early Music Workshop of members were joined by children from ducted, plus 35 audience members. New England, www.vonhuene.com. Alsup Elementary School as well as Four former chapter music directors, Carolina Mountains Recorder students of Miriam Rosenblum and with tenures going back to the 1970s, Society (CMRS) held events in Denver Waldorf School. Denver chap- were invited to be honored, as well as Brevard, NC, and at the Kelischek ter’s jazz recorder band, StopTime, a person who has been a continuous Workshop in Brasstown, NC. Ten performed at Belleview and Colum- chapter member for 40 years! performed in Brevard at Lutheran bine Elementary Schools. The group The recognition ceremony was Church of the Good Shepherd, and also played at a second Tattered Cover followed by a DP concert, plus several five in Brasstown. Also participating bookstore location and a Barnes and other ensembles and guest performers was George Kelischek, owner of Noble store, demonstrating recorder from around Arizona, and an open Kelischek Workshop. They spent an playing to over 900 children and 100 play-in, with pieces conducted by three afternoon there looking at instruments adults. of the four former directors and the

34 September 2010 American Recorder current director. A grand total of 65 people celebrated the birthday. ARS Membership Enrollment and Renewal ‰ I am a new member ‰ I am or have been a member Two classical guitarists joined the chapter in playing Dowland songs and SILVER Membership US/Canadian - $45 one year/$80 two years PLATINUM Lifetime Membership as continuo players for Baroque pieces. Foreign - $55 one year/$100 two years U.S./Canadian - $800 Loyalty* rate ($600 is tax It was fitting to have guitars join in, as Additional Benefits deductible) x Education Level Discounts on Sibelius & Additional Benefits one of the earliest DP documents, a Finale Music Notation Software x Free ARS T-Shirt local newspaper article dated Novem- x 10% ARS Store Discount x Free 2GB ARS Thumb Drive ber 30, 1958, announces a joint concert x Free Hotteterre Pin Dual $5 - Dual Other Name or Other Address: x Education Level Discounts on Sibelius & of the Phoenix Recorder Society and Family members residing at the same address may Finale Music Notation Software share a non-student membership. For an additional x 20% ARS Store Discount the Phoenix Classical Guitar Society. listing under different surnames at the same address, *For members who have maintained membership for 5 or dual addresses (summer/winter, home/school, etc.) consecutive years. The event also included informa- add $5 to your membership amount. tional displays about the ARS, DP and STUDENT Membership (attach proof) GOLD Membership U.S./Canadian student - $25 the recorder; photos and documents US/Canadian - $150 ($91 is tax deductible) Foreign student - $30 x Free 2GB ARS Thumb Drive from the chapter’s history; CD and BUSINESS Membership - $125 music book sales, and sales of tote bags x Free Hotteterre Pin WORKSHOP Membership - $65 x Education Level Discounts on Sibelius & and shirts with a special 50th anniver- Finale Music Notation Software sary logo designed and embroidered x 15% ARS Store Discount  by a DP member; flyers for the 9th ‰ Do not list my name on the ARS Online Directory Annual Prescott Summer Workshop; ‰ Do not release my name for recorder related mailings ‰ Do not release my email address for any purpose and a favorite, the DP “garage sale.” ‰ Do not contact me via email. Their event earned a gift certi- ‰ My address, telephone and email address have not changed. ficate from Glen Shannon Music, www.glenshannonmusic.com. ______Name Phone Number Honorable Mention went to ______the Twin Cities Recorder Guild, Address/City/State/Postal Code Email Address http://a415software.com/tcrg,. Please charge to: (Circle one) VISA/MasterCard/AMEX/Discover Led by music director Kate Stuart, they played at a popular repeat venue, CC#:______Expiration Date: ______the opening spring flower show at the Signature of cardholder:______renowned Marjorie McNeely Conser- Clearly Print Name as it appears on Card:______vatory in St. Paul, MN. A constant Renew by Mail, Online, By Phone or by Fax stream of the public, viewing the I am a member of ARS Chapter or Consort______‰ I am the Chapter Contact flowers, stopped to listen. A Japanese family in the audience was delighted Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers): to hear the special PtRM piece, ______My age: ‰ Under 21 ‰ (21-30) ‰ (31-40) ‰ (41-50) ‰ (51-60) ‰ 61-70) ‰ (71+) ______

‰ I am a Professional Recorder Performer. ______‰ I wish to be included in the list of Recorder Teachers in the ARS Directory and website.

I Teach: (circle your choices) Student Level: Children High School Youth College Students Adults Playing Levels: Beginner Intermediate Advanced Pre-Professional Types of Classes: Individuals Children’s Classes Adult Classes Ensembles Certifications: Suzuki Orff JRS Leader Kodaly

Where I Teach: : (circle your choices) Music Studio Public or private school Community Music School College Other : ______ American Recorder Society Phone: 314-966-4082 Fax: 314-966-4649 1129 Ruth Dr. TollFree: 800-491-9588 St. Louis MO 63122-1019 [email protected] www.AmericanRecorder.org www.AmericanRecorder.org September 2010 35 Koinobori. They waved carp kites a of the Spring Arts Fiesta at Long- CONSIDER ADVERTISING IN member had made for the occasion. fellow School. They played the PtRM Montclair Early Music (NJ), music Koinobori with an accompani- www.montclairearlymusic.org, ment bordun on bass xylophones was winner of the prize for the chap- and an improvised pentatonic verse Full page ...... $552 ter with the largest number of new for dancers within a rondo form. 2/3 page ...... $439 1/2 page ...... $366 members. They received a gift from Wiese received a box of music from 1/3 page ...... $286 Courtly Music, http://courtly Magnamusic Distributors, Inc., 1/4 page ...... $223 1/6 page ...... $175 musicunlimited.com/index.php. www.magnamusic.com. 1/8 page ...... $127 Pamela Wiese, a Chicago (IL ) Put on your thinking cap and 1/12 page...... $ 95 1 column inch ...... $ 58 chapter member, made her own event find fun and creative things to do Prices include web site/e-mail link directly with her fifth-graders. On March 17, for PtRM 2011 and Recorder Day!, from your ad in the online AR at the entire fifth grade of about 80 which is scheduled for the third www.americanrecorder.org. beginner students performed as part Saturday in March, 3/19/11. Circulation: Includes the membership of the ARS, libraries, and music organizations. CHAPTER NEWS Published five times per year: Chapter newsletter editors and publicity officers should send materials for publication to: January, March, May, September, November. AR, [email protected], 7770 South High St., Centennial, CO 80122-3122 Also send short articles about specific activities that have increased chapter Reservation Deadlines: . December 1 (January), February 1 (March) , membership or recognition, or just the enjoyment your members get out of being part of your April 1 (May), August 1 (September), chapter. Digital photos should be at least 3”x4”x300dpi TIF or unedited JPG files. October 1 (November). Please send news to the AR address above, and to the following: Rates good through November 2010. Please ARS Office, [email protected], 1129 Ruth Drive, St. Louis, inquire about discounts on multiple-issue MO 63122-1019; and to Bonnie Kelly, Chair, Chapters & Consorts Committee, contracts, inserts, or other special requests. [email protected], 45 Shawsheen Rd. #16, Bedford, MA 01730. Extra charges for typesetting, layout, half- tones, and size alterations. 133-line screen recommended. Advertising subject to acceptance by magazine. First-time adver- The tisers must include payment with order. Recorder Magazine For more information, contact the we invite you to visit the site ARS office, 1129 Ruth Drive, St. Louis, www.recordermail.demon.co.uk MO 63122-1019; 800-491-9588 toll free; 314-966-4082 phone; 314-966-4649 fax [email protected] Department of Curiosities: from a recorder list posting about a new Classified rate for American Recorder: 60¢ per arrangement at http://launch.groups.yahoo.com/group/recorder/ word, 10-word minimum. “FOR SALE” and First post:You may have seen my attempts [at arranging] this tune....I am presently “WANTED” may be included in the copy without counting. Zip code is one word; working on a version for a very large vuvuzela ensemble (in fact, a couple of hundred phone, e-mail or web page is two. Payment thousand of them).... I have written for many types of ensembles but, I am ashamed to must accompany copy. Deadlines are one month before issue date. Send copy with pay- admit, never for vuvuzela. I don’t know in what key to transpose each type (soprano, alto, ment to: ARS, 1129 Ruth Drive, St. Louis, MO etc). Can you help? No need to rush your response; the score is not due until 4 years from now. 63122-1019. A later response: Fine! plenty of time to practice! I own a historical vuvuzela, yellow Advertiser Index with age... my son found it in the attic...I’m sure it’s quite valuable. Its tone is mellow, really AMERICAN ORFF-SCHULWERK ASSN...... 26 beautiful. I call myself privileged to be the proud owner.... AMERICAN RECORDER SOCIETY ...... 11, 12, 31 STEPHAN BLEZINGER...... 4 AMERICAN RECORDER (ISSN: 0003-0724), 1129 Ruth Dr., St. Louis, MO 63122-1019, is published JEAN-LUC BOUDREAU...... 22, 26 bimonthly (January, March, May, September and November) for its members by the American COURTLY MUSIC UNLIMITED...... 27 Recorder Society, Inc. $20 of the annual $45 U.S. membership dues in the ARS is for a subscription EARLY MUSIC AMERICA ...... 10 to American Recorder. Articles, reviews and letters to the editor reflect the viewpoint of their individ- HONEYSUCKLE MUSIC ...... 19 ual authors. Their appearance in this magazine does not imply official endorsement by the ARS. BILL LAZAR’S EARLY MUSIC ...... 18 KEITH E. LORAINE EARLY DOUBLE REED SERVICE . . 20 EDITORIAL DEADLINES: November 15 (January), January 15 (March), March 15 (May), July 15 LOST IN TIME PRESS...... 6 (September), and September 15 (November). Submission of articles and photographs is welcomed. MAGNAMUSIC DISTRIBUTORS ...... BC Articles may be typed, or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes- MOECK VERLAG ...... IFC sage. They should be for the exclusive consideration of AR, unless otherwise noted. Photos may be MOLLENHAUER RECORDERS ...... IBC sent as prints, or unedited JPG or 300dpi TIF files (minimum 3”x4”). Advertisements may be sent in POLYPHONIC PUBLICATIONS ...... 20 PDF or EPS format, with fonts embedded. PRESCOTT WORKSHOP ...... 26 PROVINCETOWN BOOKSHOP...... 19 EDITORIAL OFFICE: Gail Nickless, Editor, 7770 S. High St., Centennial, CO 80122; 303-794-0114; THE RECORDER MAGAZINE ...... 32 [email protected]. Books and Music for review: Sue Groskreutz, 1949 West Court St., THE RECORDER SHOP...... 32 Kankakee, IL 60901. Recordings for review: Tom Bickley, 1811 Stuart St., Berkeley, CA 94703. SWEETHEART FLUTE CO...... 3 Cutting Edge: Tim Broege, 212 Second Ave., Bradley Beach, NJ 07720-1159. Chapter newsletters, VON HUENE WORKSHOP, INC...... 21 other reports: Editorial office. Postmaster: Send address changes to ARS, 1129 Ruth Dr., St. Louis, NICHOLAS WYNNE SHEET MUSIC...... 24 MO 63122. Periodicals postage paid at St. Louis, MO, and at an additional mailing office. DOMINIK ZUCHOWICZ ...... 3 36 September 2010 American Recorder