winter 2014 V ol. LV, No. 4 • www.americanrecorder.org Published by the American Recorder Society,

Editor’s ______Note ______Volume LV, Number 4 Winter 2014

Features ver my last couple of decades, as ARS Executive Director and then AR edi- Playing for Keeps: Otor, I’ve penned pieces mentioning research Alzheimer’s can’t rob musician of her talent . . 11 that links musical activity with improved brain function in advancing years .Thus I By Rebecca Hutchinson was intrigued to learn of a short DVD about 6 Buna Fletcher and how her Alz­heimer’s is Departments held at bay when she plays the recorder . After discovering that Buna’s longtime Advertiser Index ...... 40 neighbor was writer Rebecca Hutchinson, it became possible to expand a simple Compact Disc Reviews ...... 25 announcement of a DVD’s availability into Kathryn Bennets and Peter Bowman explore a full-length article (page 11) . It’s personal— the Antarctic and other places about Buna and her faithful friend Doortje Shover —yet research-based . It is of interest Chapters, Consorts & Recorder . . 38 10 to all of us who hope not to die young! More 2014 birthdays I want to offer my thanks to those responsible for my receiving the Presidential Education ...... 23 Special Honor Award—not only the ARS Gustavo de Francisco continues his series on tuning Board, who awarded it to me, but also many Music Reviews ...... 29 people worldwide who are willing to give of themselves to help the ARS and AR .The Music of the 18th century and beyond solitary nature of my work as AR editor President’s Message ...... 3 (mirroring my previous sometimes-solo stint 11 ARS President Laura Sanborn Kuhlman encourages in the ARS office) would seem to contradict my conviction that this is a team sport . I am us to stay young (or young at heart) with the recorder grateful to many of you out there: you’re on Tidings ...... 4 my team, and you know who you are . I espe- ARS PSHA awarded to Gail Nickless at RecorderFest; cially want to thank my family (husband Wayne and son Nick), and the closest per- Frans Brüggen, 1934-2014 (page 17); Christopher son I have to a co-worker, Kathy Sherrick. Hogwood, 1941-2014; Antony Hopkins, 1921-2014; Gail Nickless Martin Bernstein wins competition in Belgium; www.youtube.com/user/americanrecordermag Valerie Peters describes how she modified her recorders; 17 www.facebook.com/americanrecordermag Annual Focus on Business Members (page 22) www.facebook.com/groups/177397989075511/

Gail Nickless, Editor ON THE COVER: Art work by 2014 Student Contributing Editors Cover Art Contest winner Tom Bickley, Compact Disc Reviews Sue Groskreutz, Book & Music Reviews • Mary Halverson Waldo, Education Ralph Mersiowsky, a Amanda Pond, Line Editor seventh-grader from Scottsdale (AZ) Advisory Board Preparatory Academy Martha Bixler • Valerie Horst • David Lasocki • Bob Marvin © 2014, American Thomas Prescott • Catherine Turocy • Kenneth Wollitz Recorder Society www.AmericanRecorder.org Copyright©2014 American Recorder Society, Inc. ARS Chapters & Recorder Orchestras Alabama Idaho North Carolina Birmingham: Les Bois (Boise): Kim Wardwell Carolina Mountains: Susan Hartley Janice Williams 205-870-7443 360-202-3427 423-612-0421 Arizona Illinois Greenville Recorder Society: Desert Pipes (Phoenix): Chicago: John Shaw 252-355-2737 AMERICAN George Gunnels 480-706-6271 Ben Eisenstein 847-998-0198 Triangle: Jan Jenkins 919-870-0759 Arizona Central Highlands—Prescott: Chicago–West Suburban: Ohio Georgeanne Hanna 928-775-5856 Kathleen Hall-Babis 630-464-1828 RECORDER Greater Cleveland: Tucson: Scott Mason 520-721-0846 Indiana Arkansas Edith Yerger 440-826-0716 SOCIETY Recorder of the Midwest: Toledo: Charles Terbille 419-536-3227 INC. Aeolus Konsort: Marilyn Perlmutter 419-265-3537 Oregon Don Wold 501-666-2787 Louisiana Honorary President Bella Vista: Barbara McCoy Eugene: Lynne Coates 541-345-5235 479-855-6477 Baton Rouge: Oregon Coast: Corlu Collier William Behrmann 225-766-9465 Erich Katz (1900-1973) California 541-961-1228 New Orleans: Victoria Blanchard Honorary Vice President Barbary Coast Recorder Orchestra: 504-810-8540 Portland: Zoë Tokar 971-325-1060 Winifred Jaeger Frances Feldon 510-527-9029 Maryland Pennsylvania Central Coast: Margery Seid Statement of Purpose 805-474-8538 Northern Maryland: Bloomsburg Ens :. The mission of the American Recorder Society East Bay: Susan Jaffe 510-482-4993 Richard Spittel 410-242-3395 Susan Brook 570-784-8363 Inland Riverside: Greg Taber Massachusetts Erie: Linda McWilliams 814-868-3059 is to promote the recorder and its music by 951-683-8744 Philadelphia: Sarah West 215-984-8923 developing resources to help people of all ages Los Angeles Recorder Orchestra: : Sara Rex 781-237-3927 Recorders/Early Music Metro-West Pittsburgh: Helen Thornton and ability levels to play and study the recorder, Matt Ross 949-697-8693 412-486-0482 Mid-Peninsula Recorder Orchestra Boston: Bonnie Kelly 781-862-2894 presenting the instrument to new constituencies, (Palo Alto): Fred Palmer 650-591-3648 Worcester Hills: Alan Karass Rhode Island 508-847-8559 encouraging increased career opportunities for Nevada City: Rhode Island: David Bojar Miriam Morris 530-265-0986 Michigan professional recorder performers and teachers, 401-944-3395 North Coast: Kathleen Kinkela-Love Ann Arbor: Kevin Gilson 734-780-7476 and enabling and supporting recorder playing as 707-822-8835 Kalamazoo: Annette Brown Tennessee Orange County: a shared social experience. Besides this journal, 269-762-7503 Greater Knoxville: Ann Stierli Russell Wilson 435-630-1061 Metropolitan Detroit: ARS publishes a newsletter, a personal study Redding: Kay Hettich 530-241-8107 828-877-5675 Claudia Novitzsky 248-548-5668 Greater Nashville: Carol Vander Wal program, a directory, and special musical Sacramento: Mark Schiffer Northwinds Recorder Society: editions. Society members gather and play 916-685-7684 John MacKenzie, M D. . 231-547-7072 615-226-2952 San Diego County: Western Michigan: Jocelyn Shaw Southern Middle Tennessee together at chapter meetings, weekend Vanessa Evans 619-297-2095 231-744-8248 (Tullahoma): Vicki Collinsworth and summer workshops, and many San Francisco: Greta Hryciw 931-607-9072 415-377-4444 Minnesota ARS-sponsored events throughout the year. Sonoma County: Dale Celidore Twin Cities: Anne Mundahl Texas In 2014, the Society celebrated 75 years 707-874-9524 651-895-5049 Austin: Dave Melanson 512-495-4180 of service to its constituents. South Bay: Liz Brownell 408-358-0878 Nevada Dallas: Alice Derbyshire 940-300-5345 Southern California: Sharon Holmes Las Vegas: Buddy Collier 702-610-6148 Rio Grande: Sylvia Burke 575-522-1742 Board of Directors 310-379-2061 Colorado Sierra Early Music Society: Utah Laura Sanborn-Kuhlman, President Kathy Bohrer 775-393-9002 Cynthia Shelmerdine, Vice-President, Boulder: Trudy Wayne 303-651-6860 New Hampshire Utah Salt Lake: Mary Johnson Colorado Recorder Orchestra: 801-272-9015 Membership Chair Rose Marie Terada 303-666-4307 Monadnock: Vermont Tony Griffiths, Secretary, Marketing & Denver: Jon Casbon 719-799-6630 Kristine Schramel 413-648-9916 & Lynn Herzog 802-254-1223 Public Relations Chair Fort Collins: Pattie Cowell Monadnock: 970-484-0305 New Jersey Kristine Schramel 413-648-9916 Jennifer Carpenter, Asst. Secretary, Early Music Society of Western CO: & Lynn Herzog 802-254-1223 Bev Jackson 970-257-1692 Bergen County: Scholarships & Grants Chair Mary Comins 201-489-5695 Virginia Ann Stickney, Treasurer, Finance Connecticut & Reita Powell 201-944-2027 Northern Virginia: Edward Friedler Chair, Publications Chair Connecticut: Elise Jaeger 203-792-5606 Highland Park: Donna Messer Eastern Connecticut: Betty Monahan 732-828-7421 703-425-1324 Nancy Buss, Assistant Treasurer 860-536-7368 Montclair Early Music: Shenandoah (Charlottesville): Bonnie Kelly, Chapters, Consorts & Recorder District of Columbia Julianne Pape 845-943-0610 Gary Porter 434-284-2995 Orchestras Chair, Special Events Chair Princeton: Skip Kestler Tidewater (Williamsburg): Washington: Vicki Walter 301-891-1367 609-683-0358 Vicki H . Hall 757-784-2698 Matt Ross, Governance Chair Delaware New Washington David Podeschi, Fundraising Chair, Brandywine: Roger Matsumoto Albuquerque: Bryan Bingham Moss Bay: James Verschaeve Strategic Planning Chair 302-731-1430 505-299-0052 253-249-4272 Win Aldrich, Web Site Nancy Gorbman Florida Flat & Baroque in Las Vegas: Tom Curtis 505-454-4232 Seattle: Kathleen Arends 425-649-9869 Barbara Prescott Ruth Seib Anne Timberlake Ft . Myers: Sue Groskreutz Rio Grande: Sylvia Burke 575-522-1742 Wisconsin 239-676-5968 Santa Fe: John O’Donnell 505-662-5745 Largo/St . Petersburg: Staff New York Milwaukee: Carole Goodfellow Kathy Sherrick, Administrative Director Elizabeth Snedeker 727-596-7813 262-763-8992 Miami: Ruth Trencher 305-665-3380 Buffalo: Mark Jay 716-649-1127 Southern Wisconsin: Greg Higby 10000 Watson Rd., Ste. 1L7 Orlando Consort: Sheri Grayson Hudson Mohawk: 608-256-0065 Saint Louis, MO 63126 U.S. 407-299-3076 Kathryn Kuhrt 518-477-8450 Palm Beach: Gail Hershkowitz Long Island: Canada 800-491-9588 toll free 561-732-5985 Patsy Rogers 631-734-7485 Edmonton: Vivien Bosley Sarasota: Charlotte Trautwein New York City: Gene Murrow 314-966-4082 phone 780-439-3215 866-773-1538 fax 941-929-9137 646-342-8145 Georgia Recorder Orchestra of New York: Merrie Pipers Rec . Orch (Kelowna, BC): [email protected] Karen Wexler 631-751-5969 Bruce Sankey 250-766-1550 www.AmericanRecorder.org Atlanta: Mickey Gillmor 404-872-0166 Rochester: Jessica Brennan Montréal: Mary McCutcheon Hawaii 585-683-2802 514-271-6650 In accordance with the Internal Revenue Service Hawaii: Irene Sakimoto 808-734-5909 Rockland: Jacqueline Mirando Toronto: Sharon Geens 416-699-0517 Taxpayer Bill of Rights 2, passed by the United States Big Island: 845-624-2150 Vancouver: Tony Griffiths Westchester: Erica Babad Congress in 1996, the American Recorder Society makes Roger Baldwin 808-935-2306 604-222-0457 freely available through its office financial and West Hawaii Recorders: 914-769-5236 incorporation documents complying with that regulation. Marilyn Bernhardt 808-882-7251 Please contact the ARS office to update chapter listings. 2 Winter 2014 American Recorder President’s Message ______Greetings from Laura Sanborn Kuhlman, ARS President [email protected]

ecently I began teaching recorder There is a kid inside all of us and to a wonderful woman by the Did I tell you Eleanor it is never more present than when we Rname of Eleanor .While discussing our just turned 80?! are making music together . Make this lesson schedule, she told me our lessons a year of “paying it forward ”. Give of might slow down a bit during the win- membership and encouraging others your time and talents because the ter months because she loves to down- to take up the recorder . reward is greater than the gift . hill ski at Mt . Hood, just outside of Portland, OR . Did I tell you Eleanor just turned 80?! She began playing the recorder because she wanted to learn to play a ; she wanted a hobby where she is always learning, always setting goals .This is a woman that age cannot define . Eleanor may not move her fingers as fast as the best players can, but her heart is in the game . I’m not sure who is teaching whom sometimes! Inside the pages of this magazine, you will find an article covering some of the issues of aging and its effects on playing the recorder . I am sure most of us can relate to something there . We welcome your responses and encourage you to send us some of your own experiences that may help others overcome obstacles and enable them to continue making music .This is yet another benefit of being part of the recorder community—sharing with and encouraging one another . As our year of celebrating ARS is 75! closes, we all continue to look for- ward to the future and to strengthening the bonds between our members and the central organization . As a board, we always continue the quest to build on our foundation for the next gen- eration . As a member, I look for ways to give back to my recorder commu- nity—promoting the benefits of ARS

www.AmericanRecorder.org Winter 2014 3 Tidings ______RecorderFest in the West: three celebrations in one; ______Modified Recorders; ARS seeks Administrative Dir.

RecorderRecorderFest lovers attended a festival in celebrating the theWest 75th anniversary of the American Recorder Society and the 10th anniversary of the Recorder Music Center, held September 18-21 at Regis University, Denver, CO . Orga­ nizers were Regis, the Denver ARS Chapter (celebrating its 50th anniversary, www.denverrecordersociety.org), and the ARS Board . RecorderFest in the West included coached playing, master classes and other educational sessions from first-rate professional musicians . Highlights of the festival were a Friday evening con- Baroque Chamber Orchestra of Colorado RecorderFest faculty after their concert (l to r): cert by the Laura Kuhlman, Hanneke van Proosdij, Tom Zajac, Paul Leenhouts, Mark Davenport, Vicki Boeckman, Anne Timberlake, Cléa Galhano. Two favorites: Villarose Sarialdi by Thomas Jenne­felt (arr. by Mark Davenport) and Tico-Tico no Fuba by Zequinha Abreu (1880-1935).

Gail Nickless (l) receives the award from ARS President Laura Kuhlman with soloist Paul Leenhouts, as well as a celebratory dinner with the ARS Board, which spent much of the weekend in its fall meeting . During the opening reception, Gail Nickless (l) Mark Davenport, Recorder Music Center Director and visits with Mark Davenport near the exhibit Director of the Music Program, Department of Fine and Performing Arts at Regis, opened the event at a reception in the foyer of the Regis library by welcoming about 50 enthusiasts to RecorderFest . He turned over the podium to ARS President Laura Kuhlman, who presented the ARS Presidential Special Honor Award to American Recorder editor Gail Nickless for her 20 years of service to the recorder world. ARS Treasurer Ann Stickney offered a few words, as did Admini­stra­tive Director Kathy Sherrick, each of whom has known Nickless for over a decade of their ARS service .Visit www.facebook.com/groups/177397989075511/ for more photos . 4 Winter 2014 American Recorder Bits & Pieces temporary recorder music at Merkin Passing Notes Concert Hall in New York City, NY, British composer and broadcaster www.wfmt.com/main.taf?p=1,3,3,4. Antony Hopkins (1921-2014) died Open to instrumentalists, singers and May 6 at age 93 .While known mostly chamber groups performing classical Boston (MA) Conservatory now for his theater and film scores, as well and non-traditional repertoire, the offers a Master of Music in Music as his BBC radio shows on music, he Education degree with Autism annual contest counts among its past wrote several recorder works .Walter winners the recorder collective Quartet Concentration and a Graduate Bergmann convinced him to write for New Generation . Certificate in Music and Autism . the recorder, and is the dedicatee of his The Albany Consort celebrated Training is hands-on, both in and out Pastiche Suite for recorder and . its 40th birthday with a pair of October John Turner of the classroom . Learn more about , who collaborated with concerts that included two of Vivaldi’s the programs and application process at Hopkins in his later years on recorder www.bostonconservatory.edu/musiced Four Seasons . Formed in October 1974 works and then performed them, wrote in , , the name moved or contact Rhoda Bernard, rbernard@ a poignant yet humorous remembrance to the Bay Area with harpsi­chordist / bostonconservatory.edu, 617-912-9104 . of him (which shows where Hopkins’s founder Jonathan Salzedo in 1981 . As a Concert Artists Guild life intersected the early music commu- Salzedo and his recorderist wife ARS web site Victor Elmaleh Competition finalist, nity; read it on the ) . Marion Rubin­stein use the group to Anna Stegmann gave a recital of con- At its height in the 1980s, the explore repertoire with musical friends . early music revival frequently included mention of the (AAM) and (1941-2014), who died in September, www.hogwood.org . A continuo player for Sir Neville Marriner’s Academy of St . Martin in the Fields, Hogwood was a co-founder in 1967 of the , with (a recorder player in the style of the late Frans Brüggen) . Hogwood later made his name with AAM, a superstar in the classical ADMINISTRATIVE DIRECTOR, ARS genre and sometimes called “the Karajan of early music ”. He also served SUMMARY OF RESPONSIBILITIES as director or musical advisor to a num- • General administration of ARS, operation of its business office ber of orchestras, such as his appoint- • Report to the President and Board of Directors; works with Board, ARS members and other stakeholders to carry out ment in 1986 as artistic director of the ARS programs and represent its interests Handel and Haydn Society in Boston, • Finance/bookkeeping, office management, web site content and MA . He appeared in the pit for administration, and ARS Newsletter. Some tasks are delegated numerous opera companies, a diver- to an office assistant, and receive appropriate input and help sity reflected in his many recordings . from Board members He also was known for writing DESIRED SKILLS and presenting a music program on The successful applicant will have strong organizational and BBC3 radio, The Young Idea (1972–82) . communication skills, and proficiency in: His music lectures are on YouTube • Non-profit accounting (using Quickbooks) (search for Gresham College), and he • Web site management (using MMS Database & Content Manager) is remembered by the Cam­bridge • Other relevant software programs (Microsoft Office & Publisher, Adobe Acrobat, Constant Contact) University Library (with words from longtime friend John Turner and Full-time position to begin March 1 others) at http://musicb3.wordpress. Application and details at www.americanrecorder.org com/2014/10/24/to-celebrate-to-com- American Recorder Society is an equal opportunity employer. memorate-chris-hogwood-1941-2014/.

www.AmericanRecorder.org Winter 2014 5 Why did you decide to enter Martin Bernstein wins International a competition overseas? The idea to participate originally Recorder Competition in Belgium came from my teacher, Nina Stern, who knew about the competition From June 7-9, 2014, the fourth interna- Maurice van Lieshout (The ), from one of her previous students . tional recorder competition for the Mieke Marleen Vertommen (Belgium) and We felt it would be a great opportunity Van Weddingen Prize took place at the Frédéric de Roos (Belgium). One of the for me to be exposed to other young University of Leuven in Belgium. Twelve most outstanding performances that players, and a chance to listen to and different countries were represented by 44 weekend came from Martin Bernstein, learn from their playing . participants accepted to perform for six who convincingly won his age category It was also a chance to sort of get jury members: Bart Spanhove (Belgium, as well as a Moeck Hotteterre tenor a feel for what’s going on in Europe— president of the jury), Karla Dias recorder valued at $1,850. Jury members the early music world in America has (), Frédéric Jubeault (), noted his impressive technique and seen incredible growth, and there are varied musical ideas. many very talented players and teachers Bernstein, of New York City, NY, in the States, but it’s an entirely differ- was a high school sophomore and a first- ent scene over in Europe; until this year time finalist when he won the Piffaro I had very little idea of what it was like . Young Artist Competition in 2013, allowing him to perform with Piffaro Have you had past experiences on its opening series concerts that fall. with competitions? He has continued to pursue his musical I have—last year, I participated in and studies, playing in a master class with won the Young Performers competition Marion Verbruggen; attending the hosted by Piffaro, The Baroque Performance Institute at Oberlin Band of Philadelphia, which was also a and the Amherst Early Music Festival; great experience and a chance to meet and now competing in an early music and learn from some other talented competition in Belgium. He is a past young players from across the U S. . ARS scholarship recipient. Bart In an interview with How did you select your program? Spanhove , Bernstein describes his The competition required a 10-minute thoughts about recorder playing and program of selections from two or three participating in this competition. contrasting pieces . I wanted to select things that would showcase various aspects of my playing and that required different things of me both technically and musically . After trying out several programs, I ended up preparing Dario Castello’s Sonata Seconda and ’s eighth solo flute fantasia . I felt that the highly fantastical style of the Castello demanded a lot of musical input and interpretation from the performer, as well as being quite technically demanding, while the Telemann required an entirely different sort of musical sensitivity . Both pieces are very imaginative (one is literally a fantasy, while the other is in a “stilus phantasticus”), and as such they both require a lot of ideas 6 Winter 2014 American Recorder I think my participation in the competition Results of the Mieke van Weddingen was also sort of an encouraging sign for Recorder Competition 2014 how far the recorder has come in the U.S. Category 1 (under 12 years of age) 1 . Anna Einhaus () from the performer, but the actual musical ideas best suited 2 . Magdalena Anstett (Germany) to each piece are quite different . I think I ended up picking 3 . Maike Leerssen (The Netherlands) two pieces that fit together as a program, but that required 4 . Frida Foehr (Germany) different things of me—plus I found both pieces strikingly beautiful and enjoyable to prepare . Category 2 (under 16 years) I later added a third section to my program: I decided 1 . Louis Grosclaude () and to preface the Castello sonata with a short improvised pre- Katharina Martini (Germany) lude similar to the ricercata preludes in use in around 2 . Olivia Petryszak (England) Castello’s time . However, I decided to mix in some contem- 3 . Raksha Gopalakrishnan (India) porary extended techniques . Many of these ricercata, first Category 3 (amateurs under 22 years) used by plucked string players for tuning purposes [in the 1 . Martin Bernstein (U S. ). late-16th to early-17th centuries] have a sort of contem- 2 . Lea Sobbe (Germany) plative quality, one that to me seemed quite similar to the 3 . Nadia Ghassabi (Switzerland) meditative atmosphere created by much of the contemporary 4 . Sophie Wendinger (Germany) repertoire . In addition, Castello’s sonata was such a progres- sive composition for its time (contemporaries called it the Category 4 (professionals and university students) “modern style”) and is such an imaginative piece that prefac- 1 . Ana Figueiras (Portugal) ing it with an improvised modern fantasy seemed appropri- 2 . Anne Clement (Luxembourg) ate .These sonatas often were introduced in such a manner, www.prijsmiekevanweddingen.be so I felt that this made both musical and historical sense . Information: What are your plans for the future? Did it take a lot of preparation? That’s something I’m still figuring out . I want to at least try I found out about the competition last fall [2013], so it attending conservatory for an undergraduate degree in early was in the back of my mind for some time while I was music performance—I enjoy it too much to pass up the playing through various pieces . I had the program picked opportunity . Even if it isn’t something I end up doing for the out by March, so I had about three months to work specifi- rest of my life, I think it would be a great experience to study cally on it, which was a nice amount of time . I was able to for a few years and see where it takes me . I’m still debating prepare several different interpretations and to change my where I’d like to go . I went to visit some schools in Europe mind about things­—an important part of the process; the this year to get a sense of where I’d like to go . I’m still not program still felt fresh and interesting to me by the time sure, and there are quite a few very good programs here in of the competition . the States at which I would be thrilled to study as well . I’ve also recently begun playing Baroque bassoon, and I want to Was it a good experience? find a school at which I can also study that instrument . Yes, absolutely .The opportunity to listen to such a large This is my senior year of high school, so I’ll be making number of talented players in one day was incredible, and the audition rounds and applying soon—and playing something I haven’t really been able to experience before … a few concerts around New York City while I’m still here . all of the exciting pieces and interpretations and styles . It was especially great to hear players of so many different What were your experiences during your stay in Belgium? age groups, from 10-year-old players of incredible promise Leuven was a beautiful city to visit—just getting to walk in the youngest category, to pre-professionals who I am around and meet people and try the food was great . I didn’t sure will go on to have great careers . have too much time for sightseeing, but I did get to take a I think my participation in the competition was also tour of the incredible 15th-century town hall . And they sort of an encouraging sign for how far the recorder has have this great contraption that I think is called a “bierfiet,” come in the U S. . Being able to work with such great teachers or beer bike, which is like a bar on wheels that a bunch of and at such great workshops here in America has been people pedal through the streets . I was lucky enough to get invaluable in helping me improve as a player, as well as a ride on one of those one night! in helping me to prepare specifically for this competition . www.AmericanRecorder.org Winter 2014 7 Which prize did you win? historical instrument and about its That being said, there are things The first prize in my category was a repertoire . I originally thought I would that I have really come to appreciate new by Moeck after end up switching to another, more about the instrument itself .The Hotteterre—it’s quite a nice instru- conventional, , but recorder forces a sort of hyper-musi- ment, and I hope to put it to good use! Charles gave me some really great cality from a player: its expressive things to play and I ended up sticking capability exists in minute detail work, How did you start as a recorder player? with it . and I love working with an instrument I came to the recorder sort of by Then two years ago, I started get- capable of this . Every slight change in chance—my parents bought me a ting more interested in recorder and articulation and embouchure vowels plastic soprano as a toy when I was attended the Amherst Early Music and finger position is reflected in the five years old, and I started playing Festival, where I met Nina Stern . Since sound, because the creation of sound with it, learning the basic fingerings then I’ve been getting more serious and is so direct and so immediate .There’s and some simple melodies . Eventually enjoying playing more and more . no reed—I’m in direct contact they took me to a music teacher who with the windway, so I’m very close offered recorder lessons, local jazz pia- What is so attractive for you in with the instrument and have an nist Charles Sibirsky—he luckily hap- playing the recorder? incredible amount of control . I have pened to know about the recorder as a That’s an interesting question .The pri- to focus on all of these details, and mary thing I find appealing in playing work on an incredibly refined and recorder is the repertoire—I love study- careful level to get across what I ing and playing and listening to early want—this detail work suits the music, and the music is what I always repertoire very well . It forces me to want to focus on . I find the small, con- be very in tune and specific with what stantly changing details fascinating and I want to say and what my musical the early concepts of harmony and ideas are . musical rhetoric incredibly beautiful . I just spent two weeks in Urbino, And I love the research involved a Renaissance town on the eastern in studying this repertoire—trying to coast of Italy, [where] I took a tour rebuild old musical traditions is fasci- of the duke’s palace, built in the 15th nating to me, and it’s very exciting to century .The man giving the tour asked discover sounds and ideas that are us, pointing out the incredibly ornate, completely new and fresh to us and yet handcrafted ornaments in one of the have existed for hundreds of years . wooden doors, why we thought they Having this research culminate in the spent so much time and money and aural experience of a performance is effort chiseling by hand such a small an incredible way of bringing it to life detail that barely anyone would notice . in a vivid and fleeting way, a vibrant I’ve thought a lot about that, and I medium quite different from a history think it’s because hundreds of years ago, paper or a lecture . that’s exactly what people did notice . I’ve noticed two general schools of They looked at things, and listened to recorder playing: there are those who things, differently than we do today . [study] the recorder as an instrument, They took pleasure in the details . and all of the interesting things it can That’s the way I want to play the do; and there are those who study the recorder, and I want to give people music that the recorder plays, with the the experience of—at least for a few instrument as a tool to access and share minutes—listening that way again . this music .While I see the appeal of both schools of thought, right now I Thanks, Martin, I wish you success and definitely consider myself of the latter hope to see you somewhere on a stage in category, and I want to focus on this Europe, the U.S. or elsewhere in North aspect of recorder-playing going America, or another continent. forward .

8 Winter 2014 American Recorder Recorders in New York City nied by a trio of bass flute, contra bass group is only four strings, , harpsi- recorder, and tubax, which is a contra chord, and two .The By Anita Randolfi, New York City, NY bass that can play lower oboes often double the string parts, than the string bass . so they play much of the time—and Besides the pleasures of listening to Playing extremely low instru- when not playing oboes, the busy music, one sometimes learns interest- ments took a lot of energy from the wind players switch to recorders . ing facts by attending concerts: for performers; one could see the passion- Kristin Olsen and Sarah Davol were example, that G P. .Telemann was god- ate efforts that went into making a the /recorder players .The oboe father to C P. E. . Bach . Both composers sound that was strangely beautiful and playing was strong, but, I regret to say, appeared on an April 5 concert at the very deep, sometimes almost beyond the recorder playing was rather wimpy . Morris-Jumel Mansion, given by hearing .The very hardworking instru- As part of the Mostly Mozart Gregory Bynum, recorder, Theresa mentalists were Miako Klein, contra Festival, the Philharmonia Baroque Salomen, , Carlene Stober, , Alice Teys­sier, bass Orchestra (PBO), led by Nicholas gamba and Rebecca Pechefsky, - flute, and Eliot Gattegno, tubax . McGegan, presented a concert perfor- sichord . Each had solos in addition to The Recorder Orchestra of New mance of G F. . Handel’s 1712 opera the full ensemble works, so there was York (RoNY) also uses many low Teseo at Alice Tully Hall of Lincoln variety in color from piece to piece . recorders, though in a more conven- Center on August 12 . Although three Bynum soloed in two well-known tional way . Conducted by Patsy hours long, the performance of this Telemann trio sonatas: TWV42:a4, Rogers, RoNY gave its spring concert riveting opera held my attention from and TWV42:a6, both in A minor, May 4 at Jamesport Meeting House beginning to end . The instrumental and both scored for , vio- on Long Island . As is usual with this forces were very like those of Purcell’s lin and continuo . He also played the ensemble, they played a wide-ranging The Fairy Queen—but much larger . Solo in F Major for recorder and con- program touching on repertory from There were some very handsome tinuo by Elias Brun­nemiller (fl . 1690- the Medieval to the contemporary, recorder obbligatos very ably played by 1712), a composer new to me . plus an added touch of swing . the PBO recorder players, Hanneke One of the most interesting uses The enterprising Dell’ Arte van Proosdij and Gonzalo Ruiz. of the recorder I’ve ever heard was at Opera Ensemble brightened a rather June 19 isn’t quite officially sum- a concert at The Kitchen, a nonprofit dull August with a presentation of mer, but the day was summerlike, and multidisciplinary space that takes its ’s The Fairy Queen, a Chelsea Winds Recorder Ensemble name from its original location in 17th-century reworking of Shakes­ was happy to be invited to play for a Greenwich Village .The April 19 peare’s A Midsummer Night’s Dream; garden party on the beautiful grounds event featured the International the performance was at the East 13th of the General Theological Seminary . Contemporary Ensemble (ICE) St .Theater on August 7 . Supporting The program consisted of quintets and the German vocal ensemble Neue a large and excellent cast of singers, and trios by Lupo, Corelli, Hook, J S. . Vocalsolisten . As part of the annual actors and dancers were The Sebasti­ Bach, C P. E. . Bach and others .The MATA festival (formerly Music at the ans, a period ensemble directed from Chelsea Winds players are Gregory Anthology, now with a broader pur- the by Jeff Grossman . In Eaton, David Hurd, Lucinda and pose of supporting up-and-coming keeping with Baroque practice, this Barrie Mosher, and myself . artists), they gave the U S. . premiere of Matra, a cantata by the Italian Swiss composer Oscar Bianchi . prescott Matra uses a very few lines of text—from Lucretius, the Gospel of Mary, and an ancient Asian Indian Workshop 14 Grant Road text—turned into passages of non- Hanover, New Hampshire sense syllables that combine into com- 03755 • USA plex rhythmic structures . Extended 603.643.6442 Phone vocal techniques that included a great email: [email protected] www.prescottworkshop.com deal of panting were demanded of the vocalists .The singers were accompa- Devoted to making recorders of the finest possible quality for nearly 40 years.

www.AmericanRecorder.org Winter 2014 9 intrigued with my brace .They sug- Another Way to Play gested I get an instrument with keys built to cover holes four and five . UK By Valerie Peters, Andover, MA After trying the Aulos recorder flute maker Peter Worrell drew up for people with finger disabilities, I plans to customize a Moeck soprano . Thanks to wooden dowels, a terrific decided to play on a standard model . I received funding from the craftsman, generous funding from the I covered the fourth hole with my left Play Foundation for a customized ARS and Play Foundation, and a good pinky . In addition, my father and I cre- in summer 2013 . In idea, I can play the full range of the ated a brace out of a wooden dowel and 2014, with assistance from ARS, I pur- soprano and alto recorders . Consider­ a thumb rest . Along with a neck strap, chased an alto with the same design . ing that I was born with two fingers the brace makes the recorder practically As a child, I never thought that on my right hand, this is a significant free-standing .This was a huge devel- I would play a . accomplishment .While my quest to opment: I could use my right hand to It is immensely satisfying to play play recorder has resulted in a satisfying hover over the bottom three holes . recorder, and it makes me want to musical experience, it has also deep- Eric Haas and his colleagues at make the recorder even more accessi- ened my passion for adaptive instru- the Von Huene Workshop were ble . Some projects are complex; yet ment development . others, like creating an adjustable neck strap, are simple . Most important, we must be open to new possibilities . Admittedly, the population of adaptive players is small, yet the pleasure it gives us to play the recorder is unimaginably great . Valerie Peters teaches music and movement at a public elementary school in Andover, MA. She has a degree in Music Education from the University of New Hampshire, and Orff-Schulwerk Certifi­ ca­tion from George Mason University. Most recently, she has taken up soprano and alto recorder. Peters plays on Moeck instruments with keys added by Peter Worrell, and is extremely grateful to the Play Foundation and the ARS for their assistance in acquiring these instruments. In addition to elemental music and movement education, Peters is passionate about helping people with limb differences develop adaptive instrument techniques. She is a mentor for the Helping Hands Foundation and has been on its Board of Directors since 2008. Visit https://sites. google.com/site/instrumentadaptations, the web site she created to share instru- ment adaptations for musicians with limb differences. See and hear her recorders being played at www.youtube.com/user/ americanrecordermag, and read more of this article at www.americanrecorder. org/docs/AnotherWayforWWW.pdf .

10 Winter 2014 American Recorder Playing for Keeps: Alzheimer’s can’t rob musician of her talent very Friday when Buna Fletcher played with Fletcher, she reluctantly By Rebecca Hutchinson plays recorder duets with friend began to notice a shift in the way that Eand fellow musician Doortje Shover, Fletcher, a lifelong musician, couldn’t their rapport—both musical and per- stay organized or keep her music Rebecca Hutchinson is a journalist sonal—is evident . Both play with the straight—and, although Shover saw and amateur pianist who lives in same phrasing and stop abruptly when the toll this was taking on the ensem- Wilmington, DE. She grew up as a even slightly out of sync, and both ble, she realized with equal dismay neighbor of Buna Fletcher, a family show reserves of patience for one the toll it was taking on her friend . friend for decades. another and the music .This wasn’t “With recorder ensembles, you get always the case, though, and their a mixed bag, and Buna always noticed alliance nearly disintegrated entirely this,” Shover recalled .“When she said when a bad practice session almost things like, ‘Who are these people? severed their playing and friendship . These people can’t play!’ she obviously It was several years back, after couldn’t stay in the group any longer, Fletcher let Shover and others in her though—and of course that isolated northern Delaware recorder ensemble her further . It was very hard to watch know exactly what she thought of their someone feeling so constantly left out ”. playing; and it was during a particu- In any case, Shover felt increas- larly rough patch for Shover, when ingly compelled to address Fletcher’s her friend’s decline was becoming exile, and on a trip she took home at increasingly obvious, but the cause around the same time to visit friends of it—Alzheimer’s disease—was and family in her native Holland, a still not clear . Following Fletcher’s chance passing of a music store in outburst and subsequent dismissal Utrecht gave her an idea . Drawn inside from the group, Shover agonized over by the lavish display of sheet music in the expulsion and felt the loss so keenly the window, she pored over the wide that others in the ensemble noticed . Some statistics related to Alzheimer’s disease “I’d grown to admire Buna’s • 1 billion – Current number of people globally over age 60 . melodic playing and sensitive tech- This number is expected to double by 2050 . Source: The United nique so much that when she left Nations Department of Social and Economic Affairs the group I really felt it,” Shover • 5.2 million – Approximate number of people with Alzheimer’s said .“People came up to me and said, disease in the U S. . in 2013 .This includes an estimated 5 million people ‘Doortje, you seem so sad . Do you age 65 and older and approximately 200,000 individuals under age 65 miss Buna?’ And of course that was who have younger-onset Alzheimer’s . Source: Alzheimer’s Foundation it . I did miss her ”. of America (AFA) “She was one of the first musi- • 13.8 million – Estimated number of people 65 and older who will cians I met when I joined the ensem- have Alzheimer’s disease by 2050 . Source: AFA ble seven years earlier, and I was con- • 1.2 trillion – Projected annual cost, by 2050, of caring for people sumed with her artistry whenever we with Alzheimer’s disease . Source: AFA played together . I heard her play and • 80 – Current average life expectancy of both men and women in the U S. . I thought, ‘What a great musician!’ Source: U.S. Center for Demography and Population Health We played on the same level, with • 56 percent – As of 2013, the percentage of people in the U S. . age 85 the same experience,” she reminisced . and older who report no limitation in work or daily living activities . As Shover continued over time sit- Source: Gerontological Society of America ting in the two ensembles in which she

www.AmericanRecorder.org Winter 2014 11 selection of recorder music filling the shelves and left the to point out words she might recognize from German and store hours later armed with both music and a plan . Yiddish, both of which she knows .What is interesting “Of course I would say this, being from Holland,” about this from my perspective is that I’m not a patient Shover said, “but Holland has among the largest collections person . But I am with Buna . I keep hoping that the music of recorder music anywhere in the world . I went into that is going to heal her, and that’s a strange hope, because it’s store and I bought a number of duets, and when I got back not possible ”. to Delaware, I took them to Buna’s house ”. Lately, Shover said, she’s particularly excited over some Fletcher, Shover said, at first came to the door a Brazilian children’s tunes she found that are deceptively little nonplussed . Not remembering Shover’s name, she challenging because of their tricky rhythms .“I often have nevertheless did her best to play the gracious hostess, run- trouble counting, which has always been hard for me,” ning to apply lipstick, and on her second greeting, she made she said .“But the challenge is good for both of us, because it clear that not only did she recognize Shover as a friend, whenever I make a mistake, Buna always stops . She knows she also associated her with music . Shover lost no time immediately when something is wrong with the music ”. setting up a stand and putting music on it, and Fletcher “Now that we’ve started playing together again, lost no time playing it all flawlessly . I’m once more in absolute amazement over how well “She was easily sight-reading pieces she’d never she still plays ”. played before,” Shover said .“I kept giving her more and more, and she played it all beautifully ”. Playing On Shover kept this up for weeks, and then months, The ongoing duet sessions might have been enough of a until whatever fine line exists between temporary gig and happy ending for the purposes of friendship and musician- permanent engagement fell away . Now she and Fletcher ship, but Shover, whose mother also suffered from Alz­ play weekly, every Friday afternoon for an hour or more, in heimer’s disease, felt strongly enough about Fletcher’s Fletcher’s living room, where the eclectic selections range enduring musical powers that she wanted to share her from Telemann to Bach to Jewish folk tunes . story with a wider audience . She liked the idea of a short “If I didn’t set out Buna’s stand and put the music on it film, in particular, as the medium would truthfully capture and sit next to her and prompt her, she wouldn’t play on her both Fletcher’s struggles and triumphs . But a hitch lay in own,” Shover said, noting both Fletcher’s faltering eyesight the fact that she knew nothing about writing, directing or and her lack of motivation that’s typical of Alzheimer’s producing a film—and her enthusiasm, though powerful, disease .“But there is absolutely nothing wrong with her wasn’t quite the right tool to bring Hollywood knocking . musical ability ”. Then Shover met Peggy Brick, an instructor at the “Something I always try to do whenever she and I play state university’s extension program, who put Shover in is to perk her memory,” Shover added, “and because a lot of touch with Mark Schoen, a veteran film director and pro- the music we play gives direction in foreign languages, I try ducer who liked the sound of Shover’s project . Shover got

Resources for further exploration: Levitin, Daniel . The World in Six Songs: How the Musical Web sites Brain Created Human Nature . 2008 . (A study of how Alzheimer’s Association, www.alz.org musical perception has shaped creativity, cognition Alzheimer’s Disease Education and Referral Center and social behavior in humans) (National Institute of Aging), www.nia.nih.gov Levitin, Daniel . This Is Your Brain on Music . 2006 . Alzheimer’s Foundation of America, www.alzfdn.org/ (A neurologist’s and cognitive psychologist’s EducationandCare/musictherapy.html look at music’s effect on the brain) University of California­–San Francisco, Memory and Sacks, Oliver . Musicophilia . 2007 . (A comprehensive book Aging Center, http://memory.ucsf.edu on the effects of music on the brain and the brain’s role in musical perception and ability) Books and media (also see this article’s Bibliography) Shenk, David . The Forgetting: Alzheimer’s: Portrait of an Bayley, John . Elegy for Iris . 1999 . (Memoir by the husband Epidemic . 2001 . (An in-depth book on Alzheimer’s of the writer Iris Murdoch, who suffered from disease and Alzheimer’s disease research) Alzheimer’s in her last years) Wearing, Deborah . Forever Today . 2004 . (Biography of Cohen, Donna . The Loss of Self . 2001 . (Guide for caregivers Clive Wearing, an English musician whose musical of family members with Alzheimer’s disease) talents remain intact despite complete anterograde and retrograde amnesia)

12 Winter 2014 American Recorder busy sending fundraising letters to “In reality, the ability to play an Some benefits that playing everyone she knew, including acquain- instrument and listen to music is a music has been shown to tances and friends as far-flung as well-rehearsed response that doesn’t have on Alzheimer’s Germany .This time her enthusiasm require much mental processing,” said • Boosted mood, memory and was the right tool: the $100,000 Dr . David Simpson, director of geriat- social interaction skills that required for the film’s budget was rics for Christiana Care Health System often last for hours after playing raised, and, in the space of several and the Swank Memory Care Center, • Increased verbal and pictorial months, the film was underway . where Fletcher is a patient .“It’s a natu- recognition skills The finished product is a ral reaction to tap our toes or hum • Improved balance, coordination 10-minute documentary titled along when we hear a familiar song . and gait Playing On that features Fletcher’s A person may not remember who • Enhanced focus playing, as well as interviews with a family member is, but can neverthe- • Increased self-awareness family members and close friends less play an instrument because it’s a who talk about playing with Fletcher matter of memory versus motor skills and her late husband decades before and you don’t need an intact memory “She forgets the names of in various recorder ensembles .The to do that,” Simpson said . film also highlights Fletcher’s musi- While this may be true on a family members and she cal immersion at a young age and strictly physiological level, Fletcher’s forgets to eat, but if there’s explores the possibility that this daughter, Andea LaCombe, is never- might account, at least in part, theless struck by her mother’s ability any better focusing tool for her enduring musical ability . to sight-read and learn new music— for her than music See the DVD Playing On ... (Mark Schoen and Doortje Shover, I haven’t discovered it yet.” 2013) at www.youtube.com/watch?v=VMoAVN3vyio; also see www.udel.edu/udaily/2014/mar/film-playing-on-032414.html. much of it difficult even for seasoned players—and by her mother’s likewise uncanny sensitivity to a piece of music’s dynamics, tempo and mood . “What’s really remarkable in my mom’s case,” LaCombe said, “are the things that have stayed intact—her ability to play music, to read music and to learn new music . She goes to adult day care . She forgets the names of family members and she forgets to eat, but if there’s any better focusing tool for her than music I haven’t discovered it yet ”. “I know arthritis typically sets in after middle age, and it may be a little late to say this, but watching my mom play music makes me want to learn an instrument myself, especially one that’s portable, even if all I play are folk songs I can sing along to .When you see peo- ple who are nearly catatonic open up to music, it’s clear they’re connecting with others, which is amazing enough . But to actually play an instrument, and to play it well, adds a whole new level of engagement ”.

www.AmericanRecorder.org Winter 2014 13 fits—all of which stimulate and engage many brain net- works, which in turn contribute to the active, involved lifestyle that experts on aging recommend .

The Art and the Science meet According to Emory University clinical neuropsychologist Brenda Hanna-Pladdy, who studies cognitive functioning in musicians, brain networks that have been strengthened by musical engagement compensate to delay the detrimental effects of aging, resulting in a phenomenon called cognitive Starting Early reserve . Hanna-Pladdy’s research also has shown that exten- sive musical training, even in amateur musicians, provides a Because Fletcher has led an engaged life that included teach- cognitive benefit that can last throughout a person’s life . ing full-time, painting, playing music, reading widely, and, at Additionally, even if musicians didn’t continue to play one time, speaking multiple languages, she may have delayed music as they aged, they still performed better on tasks of the onset of Alzheimer’s and slowed its overall progression . object-naming, visuospatial memory and rapid mental pro- According to LaCombe, however, it nonetheless started years cessing and flexibility than those who had never played at earlier than her official diagnosis .“As smart as my mom is, all—as long as they had played for at least 10 years .That’s she was able to hide the fact that she had Alzheimer’s for a encouraging, Hanna-Pladdy said, because as people age long time before anyone else even knew about it,” LaCombe they often lose the fine motor skills and keen eyesight said .“She got the formal diagnosis seven years ago, but required to continue playing their instruments . as far back as 11 years my dad knew about it, and even before Hanna-Pladdy additionally found that musicians who that my mom must have suspected something, because in began playing before age nine had better verbal memory going through her papers, I found articles she’d saved on functions than those who started later, which backs up Alz­heimer’s from as far back as the ’90s ”. research from a 1995 study showing that professional musi- An accurate diagnosis was frustrating to pin down, cians who began training before age seven had thicker-than- however, because Fletcher—then, as now—always aced all average anterior corpus callosi, part of the pathway that links the usual tests .“She can spell words backwards, she knows the right and left hemispheres of the brain . Furthermore, the season, and she knows the time and date, because she can Hanna-Pladdy found that musicians who continued to read clock faces,” LaCombe said of her mother . play their instruments at older ages tended to perform bet- Perhaps the greatest buffer in protecting Fletcher, now ter on tasks of visuospatial judgment, suggesting that there 84, from an even quicker and earlier decline, however, was continues to be plasticity in the brain even in advanced age . her early training and lifelong immersion in music . Her “Finding a way to harness this plasticity is probably father (top, with Buna), who was a pianist and composer, one of the biggest hopes we have for treating brain disor- made sure that from a young age his children were exposed ders or dealing with cognitive decline in advanced age,” to music . Before taking up the recorder as a young woman, Hanna-Pladdy said .“Similarly, continuing to play music Fletcher played guitar and sang, both of which she continued in advanced age adds a protective benefit to individuals to do even as she became more involved with the recorder . with less education, and is considered to be one of the “My mom had a beautiful singing voice,” LaCombe most robust ways to create cognitive reserve ”. said .“Both my parents (right) were very involved in art and music, and the fact that my mom can still play so beautifully and sight-read music she’s never seen before so flawlessly makes me believe that activities from her past—her far past—are still very meaningful to her ”. “What really strikes me, though, is the lasting effect that playing music has on my mom’s behavior . For several hours after playing, her short-term memory is definitely stronger ”. Though solid scientific data compiled from studies to date is far from conclusive, several recent studies have indi- cated that playing a musical instrument does have both short-term and lasting cognitive, physical and social bene-

14 Winter 2014 American Recorder Music as therapy, music as enduring Bibliography Regardless of cognitive reserve or any other scientifically Alzheimer’s Foundation of America, www.alzfdn.org/ measurable benefits that may accrue to those who play EducationandCare/musictherapy.html music, the emotional benefits of music on those with cogni- Crystal, H A. .“Preservation of Musical Memory in tive decline are just as significant—and, in the case of passive Alzheimer’s Disease ”. Journal of Neurology, listening, don’t even require musical training, let alone years Neurosurgery, and Psychiatry, 1989 . of practice . Merely listening to music can calm jangled Gatz, Margaret .“Study of Dementia in Swedish Twins ”. nerves and create an emotional connection with others, Findings presented at the Inter­disciplinary Society and enjoying music with loved ones and caretakers can for Quantitative Research in Music and Medicine, provide an opportunity for Alzheimer’s patients to commu- 2013 . nicate with the wider world, explained Carol Steinberg, Hanna-Pladdy, Brenda . Neuropsychology, 2011 (see www. president of the Alzheimer’s Foundation of America . apa.org/news/press/releases/2011/04/music-lessons. Moreover, the emotional benefits that people get solely aspx); and Frontiers in Human Neuroscience, 2012 . from listening to music, and the brain chemicals that are Levitin, Daniel J . The Organized Mind: Thinking Straight released in the process, are distinct from the structural in the Age of Information Overload . New York: changes the brain undergoes through playing music over Penguin Random House, 2014 . time, neurologists have found . Ongoing research supports Miller, Bruce .“Functional Correlates of Musical and the claim that music truly does have healing properties . Not Visual Ability in Frontotemporal Dementia ”. only does the brain’s reward center react strongly to music— University of California–San Francisco, 1998 . a structure called the striatum releases the “pleasure” chemi- Munte, T . F ;. Altenmuller, E ;. and Jancke, L .“The cal dopamine—but the antibody immunoglobulin A, which Musician’s Brain As a Model of Neuroplasticity ”. is linked to immunity, also increases in the bloodstream, Nature Reviews Neuroscience, 2002 . according to a recent study by Daniel Levitin, a cognitive Pascual-Leone, A .“The Brain that Plays Music and psychologist, neuroscientist, musician and author working Is Changed by It ”. Annals of the New York at McGill University in Montréal, QC . Academy of Sciences, 2001 . Perhaps more important than such metrics, however, are the less scientifically measurable benefits music has on indi- “restore those who are lost in dementia to themselves and viduals with Alzheimer’s and dementia . Aside from provid- others, at least for a while . ing a nonthreatening communication vehicle that is typically “Certainly someone with Alz­heim­er’s loses many of his pleasing, music—both playing it and listening to it—can, in powers or faculties as the disease advances, and the loss of the words of neurologist, musician and author Oliver Sacks, certain forms of memory may progress to a profound amne- The maze—a few types of memory sia,” Sacks writes; a person with Alzheimer’s may also even- tually lose language and deeper powers like judgment, fore- • Explicit: A type of memory that is conscious, inten- sight, the ability to plan, and some fundamental aspects of tional and often autobiographical, such as the recol- self-awareness . lection of an event from the past . “Yet although one may be profoundly reduced and • Implicit: A type of unconscious, unintentional impaired, one is never a tabula rasa,” he added .“Aspects of memory that is literal, exact and reproducible . one’s essential character survive, along with certain, almost • Procedural: A type of implicit memory linked to indestructible forms of memory, even in very advanced habits and frequently repeated movements and dementia, and the response to music, in particular, is pre- sequences . served ”. • Fixed action pattern: A subset of procedural mem- Sacks addressed this uncanny preservation by explaining ory that is linked to movements and sequences like that procedural and emotional memory, both of which are swimming, riding a bike, and practicing musical activated when listening to and playing music, seem to be instruments . spared in both dementia and in the more diffusely ravaging • Episodic: A type of explicit memory required for cortical disease, Alzheimer’s . recall of particular, unique and contextual events . This is in part due to the fact that episodic, or explicit, • Semantic: A type of memory required for under- memory—the type of memory required for intentional standing facts, meanings and concepts, and for and contextual recollection—develops relatively late in child- conscious recollection of factual information and hood, and is dependent on a complex brain system involving general knowledge about the world . the hippocampi and the temporal lobe structures, while pro- www.AmericanRecorder.org Winter 2014 15 imaginations, senses of humor and creativity, as well as their senses of identity as nothing else can ”. It can also, he added, not insig- nificantly charm others and arouse their amazement and admiration . This loop of positive feedback, coupled with the rise in dopamine, may also explain the significant boost in mood that those with dementia and Alzheimer’s disease typically get while interacting with music . cedural, or implicit, memory—the type though fixed action pattern memory Then, too, are the lasting emo- of memory linked to motor skills and begins forming in utero and is further tional and cognitive benefits that music repeated actions—involves larger and bolstered over the course of a musician’s has on such individuals—benefits, more primitive parts of the brain: sub- lifetime through musical practice, brain Sacks said, that can linger for several cortical structures like the basal ganglia morphology alone cannot adequately hours afterwards .This would certainly and cerebellum and their many con- account for musical inspiration in the hold true for Fletcher—who, both nections to each other and to the cere- presence of widespread neural devasta- LaCombe and Shover say, is much bral cortex .The very size and variety of tion . more responsive and alert on the days these systems, Sacks said, accounts to a she plays her recorder, and who has large degree for the robustness of pro- The “spark” even shown cognitive comebacks on cedural or “fixed action pattern” mem- However much mystery may lie in cre- days when jam sessions have been ory and the fact that, unlike episodic ativity, though, Sacks does believe that particularly long . memory, it can endure intact in the face musical inspiration can be attributed, Once, after Fletcher and Shover of extensive damage to the hippocampi at least in part, to the fairly pedestrian played for hours while waiting for a and cerebral cortex . explanation of momentum coupled delayed visitor, Fletcher rallied remark- However, Sacks emphasized, this with listener feedback . Because music ably later that evening when, sitting in does not explain everything about why is integral, he explained, all of a piece a restaurant with family, she began to musical powers endure in the face of and buoyed along by its own flow, the sketch her grandchildren, spontane- Alzheim­er’s­—and it especially doesn’t musician can pair this momentum with ously reviving an old flair for drawing explain why powers like sensitive audience feedback and carry the per- that she’d abandoned years before . attunement to musical structure, formance along, even when he himself “When I see my mom with dy­namics and context endure . Even is hobbled by a disease like Alzheimer’s . Doortje, she’s different,” LaCombe “[Musical] practice involves con- said .“I don’t see my mom show that scious application, monitoring what kind of affection to anyone other one is doing, bringing all one’s intelli- than our family . If it hadn’t been for gence and sensibility and values to Doortje’s visits and encouragement, bear—even though what is so painfully my mom probably wouldn’t have Honeysuckle Music and consciously acquired may then picked up the recorder ever again . become automatic and coded in motor When they’re playing together, patterns at a cortical level,” Sacks said . Recorders & accessories they really have a connection ”. However, the actual in-the- Shover echoes this, saying in her ... moment performance, when the Music for recorders & own words what Sacks and many other music becomes “fresh and alive,” is experts on Alzheimer’s disease say . Jean Allison Olson what Sacks believes animates and “Whenever we play together, I connect 1604 Portland Ave. engages the creativity of musicians with with Buna as though she is functioning St. Paul, MN 55104 Alzheimer’s disease .“Discovering anew normally, and that’s beautiful to me,” 651.644.8545 that they can make music is profoundly she said .“Music is a language we have [email protected] reassuring to such patients,” Sacks said . between us that we understand . It is “It can stimulate patients’ feelings, nonverbal, it is from the soul, and it is purely emotional ”. 16 Winter 2014 American Recorder Frans Brüggen, a pioneer of the early music revival, died in August at age 79. Frans Brüggen (1934-2014) Born in Amsterdam, The Nether­ Indeed a superb role model! encounter . Every time I would call him lands, he studied at the Uni­ to arrange it, he would say: “I no longer ver­sity of Amster­dam and recorder at By Cléa Galhano, St. Paul, MN play the recorder,” with a cynical tone . Amsterdam’s Muzieklyceum with Kees I would explain to him that the award Otten, a student of Carl Dolmetsch. Thank you, Frans, for being a role represented how he inspired a genera- Brüggen became the first Muzieklyceum model! tion of recorder players and changed graduate to earn a diploma in recorder. Everybody in life has and needs a the way we thought about the instru- At age 21 in 1955, he was named role model who inspires them . My role ment . professor at the Royal Con­serva­tory in The model, as well as that of many recorder After several calls, he agreed to Hague. His written output included players around the world, was Frans receive it . On a beautiful spring day recorder exercises, treatises on playing, and Brüggen . I was inspired by his expres- in May 2001, Marion Verbruggen, editions of . He commis- sivity, his musicianship, and, above all, the harpsichordist Jacques Ogg and sioned a number of recorder works, among his intelligence .The way he thought I went to his home .We had coffee in them Luciano Berio’s 1965 work Gesti. about music and revolutionized the the kitchen while his five- and seven- In the late 1960s, his recording label recorder and the Early Music world year-old daughters listened to the Telefunken capitalized on his near-cult was extraordinary . St . John Passion upstairs! popularity, including a poster of Brüggen Although he was no longer At the beginning it was a bit with his LPs. His solo performing was full teaching when I studied in The Hague, formal, but after three hours of talking of rubato, many shades of tone color, daz- I had many encounters with Frans, all and walking outside, the atmosphere zling technique and dramatic affect— of them very meaningful to me . I even was amazing .We talked about the films at first startling, then widely accepted. had a dream about him once, in which of Bergman, music and architecture . He justified these by pointing to 17th- he put me in front of his orchestra to When I left, I gave him a hug and said and 18th-century performance treatises. listen to Beethoven symphonies . He to him: ”You see, Frans, you didn’t need With disciples Kees Boeke and Walter then asked me to just listen to the to be cynical after all . It was even fun ”. van Hauwe, in 1972 (during the Dutch silence!!! It was a magical moment! He replied: “Indeed, you were right!” counterculture movement), he formed the When I served on the American A couple of months later he sent avant-garde recorder trio Sour Cream. Recorder Society Board of Directors, I a nice letter to ARS, thanking this Tours by this group, his residencies at had the honor of personally delivering beautiful organization for the award . Harvard University and at the Univer­ the Distinguished Achievement Award (Photo below by Jacques Ogg in sity of California, Berkeley, and his many to Frans at his home in Amsterdam . 2001 shows Brüggen, center, with family lectures, workshops and private lessons cre- It was quite a task to arrange the members; Galhano in blue, on his right; ated a following in the U.S. He was the Verbruggen in grey at his far left) subject of at least a dozen articles in AR. In 1981, he and Sieuwert Verster co- founded the period-instrument Orchestra of the 18th Century, the group for which he wielded the baton for the rest of his life. Brüggen’s health deteriorated in his later years, to the point that his last concert was conducted from a wheelchair. Brüggen is credited with inspiring generations of recorder players. In 2000, AR readers chose him as “Recorder Player of the [20th] Century; in 2001 he received the ARS Distinguished Achievement Award (see the May 2001 AR). He is survived by his wife, the art historian Machtelt Israëls, and their daughters, Zephyr and Eos.

www.AmericanRecorder.org Winter 2014 17 An Example of How to Live dam that Frans often visited . He was sitting at the bar, and Paul went to By Adriana Breukink, Enschede, greet “Uncle Frans” (the Loeki The Netherlands Stardust Quartet guys all called him that, because he was the uncle of In 1980 all the students in the Daniël Brüggen, a quartet member) . recorder making class of the late I hid behind Paul because I was Fred Morgan made a copy of the so nervous .Then Frans started jok- Stanesby Sr . alto recorder from ing with me . He recognized me Frans Brüggen’s private collection . from an article about the Dream At the end of the project, the whole recorders in the Mollenhauer maga- group went to Frans’s house in zine . I was so surprised he knew Amsterdam to compare their first about my project, that I could not try with the masterpiece from speak a word . I think he was still Stanesby Sr . interested what was going on in Frans welcomed us into his the recorder world, even after he huge 17th-century home . In a beau- stopped playing recorder in the ’80s . Remembering Uncle Frans tiful room with dark red silk wallpa- Before I started making record- per, we were able to try out and ers in the class at the conservatory in By Daniël Brüggen, Bussum, The [email protected] study the original .We were totally The Hague, I studied recorder per- Netherlands, impressed by the instrument, but formance and went to all of Frans’s even more by the atmosphere of this master classes . Frans was my greatest When I interviewed Frans a few years ago, event . Frans was sitting in the room teacher and example of how to live it was a sort of special occasion for both of next to our room; we could see him and play . He was a master at teach- us . I had only learned about his attitude studying the score of a Rameau ing, and he could improve a person’s towards music and the recorder through opera . He had just started conduct- playing with a few words—always his students—my teachers—rather than ing his famous Orchestra of the spoken very, very slowly . It was as if through personal contact . At that point, 18th Century . He was so kind to us, he were a shaman, first absorbing I knew he was extremely reluctant to talk and endured all of our playing and the energy of what you had to about his former life as a recorder idol . testing very patiently . At the end, understand—and then, very slowly, People in the audience always he wished us all success—although the sentences came . He never said reminded me of that status, occasionally to be honest, Frans was not inter- anything twice . driving me and my fellow [Amsterdam ested in our copies of his recorder . He treated each student very Loeki Stardust Quartet] colleagues crazy . Morgan was in The Nether­ differently . I remember a student But we all knew this was perfectly justified lands then to teach a recorder mak- who played the slow movement of because of his exceptional talents—for ing class at the conservatory at The a Handel sonata with many embel- being able to control all technical aspects Hague . First we learned to make a lishments, and with a lot of ego . of the recorder and of combining it with Ganassi, in the new and famous After he finished the piece, Frans musical vision and original ideas . “modern Ganassi style” Morgan had waited some very long seconds and My teachers, Kees Boeke and Walter developed . I love this wide bore, and he said; “terrible… ”. The student van Hauwe, told me that the level of play- the sound of its tone with the strong had to play the first two bars, with ing should be so excellent that all possible fundamentals . All the later models I all the notes separated and not artic- critique would evaporate . I suppose this developed (like the Dream recorders ulated, and he had to breathe was actually a trace of being raised in the and the Eagle recorder) have this between all of the notes . So for ideas of Frans . wide bore . Frans Brüggen loved this one minute we heard only: “huuuu. The interview took place in a friendly Ganassi model, and Fred made huuuuu, huuuuu….” As the student and open manner, underlining how many prototypes for him to test . finished, Frans said in a deep voice; important it is to keep blowing at all times . Twenty years and many hand- “much better!” When the student While instruments got better and better, made recorders later, I went with left 30 minutes later, he played this finally resulting in playing museum origi- Paul Leenhouts to a cafe in Amster­ movement beautifully! nals, I think that [playing the recorder] became less relevant . As a brilliant musi- 18 Winter 2014 American Recorder cian, he found the way to the very heart determination, his ideas proved to pay We are the heirs of quite a lot of of the sound on any instrument, using off, being just as special and effective as contemporary music dedicated to him, shadings and nuances, magically trans- in our favorite recorder repertoire . unforgettable concerts and many trea- forming and modeling it in order to tell His last performance [on May 14, sured recordings of this passionate a tale that was simple or virtuosic—but 2014, with the Orchestra of the 18th musician . always kind of mysterious . Century in The Hague], even sitting Brüggen’s DVD Ricercata, in which After Brüggen radically stopped in a wheelchair, he drew the most he interviewed his uncle and others, was his recorder career, his authoritative intense sounds from a mega-orchestra the topic of a column by Tim Broege in the conducting breathed life into the playing Rameau—and with a moving in the Summer 2013 AR. Parts of it are orchestral repertoire of Rameau, encore, bringing several orchestra posted on YouTube or Vimeo . Beethoven and Mozart .With the same musicians to tears .

Five Remembrances of Frans Brüggen, my Idol speak a language that moved the hearts of its audience . He searched for the right performance style, was deeply knowl- By Bart Spanhove, Flanders Recorder Quartet edgeable about historic performance practice, and conducted (translation: Ellen Delahanty) with an exceptional sense of musical expression . One lasting impression of a concert given in May 2014 will remain forever I . In 1978 I heard Frans Brüggen live for the first time in etched in my memory: www.blogflutes.wordpress.com/2014/ Belgium . He radiated charisma, poise and inventiveness, and 08/14/video-orkest-van-de-18de-eeuw-olv-frans-bruggen . won the audience over with impressive ornamentation and a unique, enchanting style . His stage presence was remarkable: IV . Brüggen was a pioneer who was involved with heart and seated, with his legs crossed and his upper body leaning for- soul in the revival of early music .Together with colleagues ward, he performed masterfully on the recorder . He completely Gustav Leonhardt and Anner Bylsma in the 1960s, he still disregarded the advice given in contemporary recorder manu- had much to discover . His earliest recordings resulted in als . In his hands, the simplest tune became a fascinating listen- sounds resembling an imitation of goats bleating, and in inter- ing experience . After this concert, I spent countless hours, pretations on modern instruments with yet no inkling of his- deep into the night, listening with headphones to his , torical style . But Brüggen evolved enormously .Ten years later and enjoying his exceptional, exciting recordings . Back then he would create dream LPs, which would convince and inspire he was known for stating: “the recorder has the most heavenly listeners around the world . I daresay that without Frans sound imaginable ”. Brüggen there would be no recorder-playing as we know it today .Thanks to his work, many were compelled to revise their II . Anyone who bought a Frans Brüggen in the 1970s opinions of recorder playing . He fought to allow the recorder got a poster of him as well . Brüggen was portrayed like a pop- to be seen as a fully-fledged instrument, and made it clear to idol, with wild hair, messy jeans, a turtleneck sweater and a cig- us that one could build a full concert life as a recorder player . arette .This was unusual: a classically-trained musician was expected to dress well, neatly and conservatively . It was also V . One of Frans Brüggen’s slogans while teaching was: most unusual that a recorder player should get so much public- “Blokfluit spelen is een mentaliteit” (“Recorder-playing is a state ity . For me that was something characteristic of Brüggen— of mind”) . He found that a deep love of the instrument was an he wanted to shock .With his ensemble, Sour Cream, he put absolute necessity .The next anecdote speaks volumes: he was together programs featuring the most atypical selections, from giving a lecture-demonstration in an auditorium full of old to extremely modern, from improvisations to electronic recorder freaks; one of the audience asked why, with all of his music—you heard, felt and saw the strangest things . In this talent, he had remained a recorder player . An icy silence fell, spirit, he offered up this little prayer in a booklet accompany- then Brüggen asked the lady in question, “You also play the ing one of his albums: “My God, who is present in the cel­lars recorder, don’t you? Have you then never gotten tears in your of museums, who can open the eyes of individuals, and knows eyes when you heard the recorder?” Indeed, Brüggen’s music hidden attics, grant me many more, or all, old recorders ”. brings one to tears . Also memorable was his fascinating remark made in the III . Brüggen had long since stopped playing the recorder, Concertgebouw of Amsterdam in 1970: he rebelled by saying and was making waves directing the Orchestra of the 18th that every note of Mozart played by the [modern instrument] Century .Top musicians from all over the world came together Concertgebouw Orchestra was a lie from A to Z . to make music under his direction . In spite of his sometimes At his funeral, one of the speakers remarked that every clumsy movements, he was a top conductor: with fine detail note Frans Brüggen played was fantastic from A to Z! and finesse, he managed continually to get his orchestra to We will greatly miss our recorder-guru, Frans Brüggen .

www.AmericanRecorder.org Winter 2014 19 My Experiences with the Master Bach partita for solo flute, played in C By Aldo Abreu, Boston, MA minor on alto recorder, and the When I was a boy growing up in Telemann Sonata , Vene­zuela, Frans Brüggen’s in D minor (from recordings were my greatest inspiration . Essercizii Musici), Not only did they determine my instru- in which clarity of ment, they led me to a passion and a articulation in the career . Luckily, I found a local teacher, triplets of the last Ruth Gosewinkel, who had been a stu- movement was dent of Hannover recorder player unforgettable . I also Ferdinand Conrad . became aware of his Then, a year later, I met Scott- perfect intonation Martin Kosofsky, an Ameri­can who had and masterful use of studied with Brüggen .This came about alternative finger- through a remarkable chance meeting in ings for color and Oslo of my father, the harpsichordist phrasing . I wanted Abraham Abreu, and Scott, both of to study with him, whom were on tour at the time .The two became fast friends but by 1980 he had stopped teaching to focus on the newly and my father made the most of the situation, visiting Scott created Orchestra of the 18th Century (O18C) . in Boston and inviting him to play duo concerts in Caracas After two years in London, I transferred to the Royal and Bogotá . As a guest in our home, Scott happily gave me Conservatory in The Hague, where I studied with Ricardo lessons throughout his stay . Kanji, another former student of Brüggen . Ricardo had been What followed were visits to Boston during my winter a winner of the Bruges competition together with Marion and summer vacations, more concerts in and Verbruggen; he also plays Baroque flute and has been a beyond, and a family friendship that lasts to this day . member of O18C since its beginning . During my seven It was Scott’s teaching and mentoring that brought me years in The Hague, I was lucky to hear Brüggen in many to the next level . In 1977, while still a high school student, concerts, including recitals with Gustav Leonhardt and I was accepted into the Royal College of Music in London . Anner Bylsma, conducting O18C, and with Quadro I entered the RCM’s Junior Department with a scholarship Hotteterre . from the Venezuelan Culture Ministry .There, I was a stu- In 1984 (photo), the conservatory hosted a dent of Ross Winters, who had studied with Walter van Contemporary Recorder Festival that included master Hauwe, one of Brüggen’s best-known students, and so dur- classes with Brüggen, Walter van Hauwe and Michael ing my studies in London, I had the opportunity to meet Barker . I participated in a two-hour master class on Luciano and hear Brüggen in person . Berio’s Gesti with van Hauwe, which was extremely interest- My first opportunity to play for him was at a master ing—two hours of comments on a three-minute piece! I was class he gave for the Early Music Center .The piece I per- also extremely lucky to participate in Brüggen’s master class formed was the Vivaldi/Chedeville Sonata in G minor . on Sweet by Louis Andries­sen . Here, his approach was dif- Brüggen’s comments were not about technique but about ferent from the classes in England, where he was teaching phrasing and intent, with much detail on the piece’s rhetori- the student and the audience equally . In The Hague, he cal phrasing . worked with an unparalleled level of minute detail, settling That same year at Easter, Brüggen taught at the Swan­ for nothing but the highest standards .The piece has sea Bach Festival . I had two master classes with him, in extremely complex rhythms .When I was close to accurate, which I played Cima’s Sonata in D minor and Alessandro Bruggen would still correct me, saying, “Yes, but this note Scarlatti’s Sonata in A minor . It was there that I heard him needs to be even a little longer ”. perform for the first time .The expressivity, sound quality, Perfection was a common theme throughout: and flawless virtuosity were astounding . He played the • “Super fast passages must be perfectissimo ”. Telemann Concerto in C major with the Academy of Ancient • “You must hit all the notes perfectly ”. Music, and a recorder recital with harpsichordist and organ- • “You must always have an impeccable style ”. ist Peter Williams .The latter program also included the • “Alternative fingerings must be absolutely perfect, or don’t do them at all ”. 20 Winter 2014 American Recorder • “You have to check yourself con- stantly [to see] if you are still playing neat and proper ”. The class gave me an idea of how much he demanded of himself when preparing a piece .When you heard him play, you could hear that he did those things that he taught . Many years later, O18C came to Boston, and played perhaps the fastest and most exciting rendition of Beet­ hoven’s fifth symphony I have ever heard .When I greeted him after the concert, I told him what a master and inspiration he was for me, like a father . He thought about that for a moment and replied, “more like a grandfather ”. A few years ago, I sent him a copy of my CD of Telemann Fantasies and he replied with this letter: Dear Aldo, Thank you, and Bravo! Frans I miss him very much .

The Recorded Legacy a few years later opened my eyes to mend spending a few hours watching of Frans Brüggen his “wiggly” stage presence, which the many videos of him on YouTube . provided a sort of choreography Even the older black and white TV By Tom Bickley, CD Reviews Editor that matched his phrasing . footage makes wonderful viewing and I think that listening to Brüggen’s listening . His economy of finger Frans Brüggen’s engaging and persua- recordings helped me form both a motion is a worthy focus of attention . sive playing, striking interpretations, sonic and cultural image of the As well-known as he was in early and subtle yet theatrical approach to recorder as a real musical instrument . music, Brüggen’s work with Sour performing caught countless ears and The energy and vitality of those Cream (his trio with Kees Boeke spirits in North America . I was an sounds influence me to this day, as and Walter van Hauwe) and as a undergraduate music theory major in a performer, composer and listener . soloist embraced avant-garde perfor- 1974, playing recorder (disguised as a There are many fine recorder mance .Two of my favorite clips are French horn player, since study of players and recorder recordings avail- his playing of Luciano Berio’s Gesti recorder was not an option at my able to our ears now . I find it difficult (“Gestures”) composed for him: http:// school); I was introduced to another to imagine that we’d have the breadth youtu.be/VYO35N3t1nQ; and his per- recorder player, who wanted me to and depth of musical endeavors using formance with Walter van Hauwe in hear some recordings by a Dutch the recorder had it not been for the Bach’s Cantata 106 (“Actus tragicus”) player he thought I would enjoy . riveting sonic presence of Frans conducted by Gustav Leonhardt: What I heard was from the Brüggen as a recorder virtuoso . http://youtu.be/Mc1Ve0TOF4c . 1972 Das Alte Werk three-LP set, Likely, many AR readers have For a treasury of Brüggen’s Frans Brüggen spielt 17 Blockflöten. The enjoyed (to the point of wearing out) releases on the now-defunct Tele­ sounds baffled and amazed me, and older LPs of Brüggen . Many have funken Das Alte Werk series, there is captured my imagination: such ease of been reissued on compact disc; as mp3 a reasonably priced Warner Classics execution, such variety of articulation files, many can be acquired via iTunes 12-CD set ( 2564 65836- and phrasing! Seeing him perform live and other services .To get a sense of 1) . Feast your ears and give thanks for his playing and presence, I recom- his ongoing influence .

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Please contact the ARS office We are happy to send instruments on approval for recorder sheet music, recorder music for large groups to update listings. those players who wish to compare before making & recorder orchestras and music arranged for a commitment .

22 Winter 2014 American Recorder ______Education ______Working with Pitch in a Group

Text and visuals by instances of the note A (the key of play the third of the chord . As Gustavo de Francisco, São Paulo, Brazil Eb major, for example), the tuning thirds must be adjusted high or can be compromised . low—depending on whether the In the last issue, we discussed tuning, • Tune the tonic of the key of the chord is minor or major, respec- and how it works in a practical way . music. The procedure is the same tively—the musician must tune The article included a URL to listen as the previous method, but the the instrument by taking this fact to an audio example demonstrating main note (or tonic) of the music’s into account . In this approach, use pure intonation—the article also cov- key is tuned .This solves the previ- at least two chords: the first and ered training your ears to listen, and ous problem of unrelated tonality, the last in the piece of music . training yourself to always play in tune . but does not work if the music For whatever approach you Now we know how tuned intervals modulates to a distant key, or if an choose, the intention is to keep the should sound; what sound to seek; and instrument has a specific problem instruments tuned, so that each musi- the techniques to tune notes as you play in tuning only certain notes . (You cian has the flexibility to adjust the (air pressure, shading holes, alternative should identify these notes as you pitch while playing, by using different fingerings) . It’s time to consider exer- get to know your instrument, and blowing pressure and/or alternative fin- cises to tune in a group . Here is a sim- learn how to play them in tune ). gering, but never moving the top joint ple recorder quartet exercise that can • Tune all recorders using the (pulling out or pushing in) . also be used for other groups of instru- same fingering pattern . Record­ Personally, I like to begin with the ments that do not use tempered tuning, ers in C (soprano and tenor) play third approach (all group members such as a string quartet . Use these steps: A and recorders in F (alto and using the same fingering) . After I have 1 . Tune the instruments individually bass) play D—thus, all players use each recorder adjusted and in tune, I 2 . Analyze the music to find the fingering 0 1 2, a very stable play thirds and fifths together with the intervals: fifths, major thirds and reliable fingering .This reference recorder (the lowest one) to and minor thirds approach is great for Renaissance check the range of each instrument . 3 . Play the first chord very well and Medi­eval music, and also As an example, if I am playing alto, in tune works well in other repertoire . I would tune D as a reference . After 4 . Play all chords, taking special I recommend this approach for tuning the instrument and adjusting care on the last chord groups who are not yet familiar the top joint, I would then play low with tuning chords . G, B, Bb; middle F, F#, high A; high D 1. Tune the instruments • Tune chords in the key of the (other notes in chords that employ D, There are a few different approaches to music. This approach is the most my reference note) . I need to be sure use in tuning instruments in a group: complete, but may cause mistakes that I don’t need to change my blowing • Tune just the note A (in an easy on the part of the musicians who too much for the fifths and octave (G, range) for each recorder. Start D, A and high D); and also that I can with the top joint completely tune the thirds (B, Bb, F, F#) properly . closed on each recorder . Aurally or Other tricks: using a tuner, determine which When tuning in a group, avoid recorder has the lowest pitch on holding a note for a very long time . this one note . All other recorders When you do that, your air pressure must use the lowest instrument as changes: you become tired, and have a reference, each one opening the a false perception of tuning . Always recorder’s top joint (“pulling out”) keep tuning notes short . A one-second slightly to fine-tune .With this note is sufficient to check tuning, and method, there is a disadvantage: does not demand much stamina . when we play music that has few www.AmericanRecorder.org Winter 2014 23 Always tune your own instrument before playing in a Take special care in playing tied notes group, but keep your personal tuning time short . All players must be ready and in tune in less than five minutes, even in because the same note can have different a large group with a variety of recorders . (Of course, tuning functions as the chords change. exercises in the group can take much more time ). already tuned do not change anything, while the players After tuning the instrument properly, never move the of the chord’s third change blowing and/or fingering top joint again during the performance or rehearsal . until they find the correct pitch without hearing beats .

4. Play all chords, taking special care on the last chord After having tuned the first chord very well, then it is time to play the entire exercise .You already know which notes should be high, which should be low (those in color); this should serve to guide your ear and your technique, thus giving the necessary flexibility to tune each chord . Take special care in playing tied notes because the same note can have different functions as the chords change . 2. Find fifths, major thirds and minor thirds In these cases, there are two approaches: It’s time to analyze the music to be played, looking at thirds • Play the tie without changing pitch; the whole group (minor and major) and fifths in each chord . In the above must use the tied note as its reference for tuning a new example, each important note is in color . Look at it carefully chord .This can cause a problem after a long sequence to find each note forming the interval of a fifth, minor third, because pitch can change from where you started . or major third—each in relation to the chord’s fundamental • Change the tied note slightly: this is a compromise, (this may not be the note played by the bass recorder) . which adjusts the tied note to its function in the new It is important to pay close attention to the colored chord, and the others follow .The group needs to notes, in order to understand what is happening . As each be flexible in its listening, but this gives the best result . chord is revealed, determine which note must be played It is better to use the fundamental note as a reference— differently .Those who play the black notes need to remain those who play the tied note should be alert to changing very stable because those notes provide the reference; the roles as the chords change, as well as to the function of that others must make adjustments in blowing or fingering pitch in each new chord . to tune with the fundamental or reference note . In the next article, which delves into the science of Just remember : The upper note of a fifth must be tuning, I will explain about the harmonic series; histori­­cal tuned slightly high and those playing it must blow slightly background of tuning; and temperaments, especially “equal more; the upper note of a major third must be tuned low, temperament” and “just intonation ”. Under­standing such so those playing it must shadow a hole and/or blow softly; information is useful for our goal of always playing in tune! those playing the upper note of a minor third must play it Gustavo de Francisco founded the Quinta Essentia Recorder high, using an alternative fingering and/or blowing more . Quartet in 2006. Based in Brazil, the group has performed tours in Europe (2009, 2010, 2014), China (2010), Namibia (2012) 3. Play the first chord and Bolivia (2014); released two albums, La Marca (2008) and At this point, we take whatever time is needed to fine- Falando Brasileiro (2013); and organized three of the seven edi- tune the first chord, without changing the top joint of the tions of the ENFLAMA National Recorder Meeting. He studied recorder—because all recorders have been tuned in step 1 . with Ricardo Kanji, Paul Leenhouts, Pierre Hamon, Pierre First tune the fundamental note of the first chord— Boragno, Gwenael Bihan, Christoph Ehrsam and Rachel Brown; in this example, D—while the other musicians stay silent . in 2012 he began his teacher training in the Suzuki Recorder Then, those who play the fifth of the chord—in this case, methodology, attending training courses for teachers in the U.S., A—should play and adjust, while the other members who Brazil and Peru. He also studies the recorder’s acoustic properties. are playing the D try not to change their blowing pressure . His recent activities have included presenting a lecture demon- The intention is to not change recorders that are already stration on tuning to the International Suzuki Festival of Peru tuned, so that only one member changes to get in tune . in January 2013. An engineer and a photographer, as a member Finally, anyone who plays the third of the chord— and guest he contributes to the work of several chamber music in this case, F# —joins the others . Again, those who have groups: Raro Tempero, Mosaico Harmônico and Audi Coelum 24 Winter 2014 American Recorder in São Paulo, and Oficina Barroca in Campinas. Compact Disc Reviews ______(re)Composed Early Music

Michael Reviewed by Tom Bickley, A note about access [email protected] Wolters: to these releases Danserye, While different on the surface, the four Michelle recordings reviewed here have several and about Holloway, things in common: of course, the recorder post-modern marketing ... recorder; occupies a prominent place, and all Simon Goff, include, to some degree, reworking of tra- Via iTunes you can download rea- violin; Jack McNeill, clari- ditional and early art music. All are well sonable-quality compressed files for $0.99 net; Paul Norman, guitar. worth a listen, and provide interesting each or $9.99 for the whole album. For Birmingham Record Company, work and impres­sive recorder playing, recordings on the fringe of the market 2014, 1 CD, 34:00 . CD with booklet: plus they demonstrate an assortment of (and almost all recordings of recorder abt . $16 50. + S&H (usually free); or approaches to use of recorders in a music qualify on a functional level), a “try mp3 downloads: http://michaelwolters. variety of new and not-so-new music. before you buy” approach makes a great bandcamp.com/album/danserye, abt . A note about access to these releases deal of sense. At worst, curious listeners $11 50. , or www.iTunes.com, $9 99. . and about post-modern marketing: the will sample your work; ideally, brave recordings of Michael Wolters’s music are listeners will discover and support it. Michael released both as CDs and downloadable As a less generous, but still very help- Wolters: files. Bir­mingham Record Company dis- ful, approach, previews are provided on Kathryn tributes using www.bandcamp.com and both iTunes and www.cdbaby.com . and Peter www.iTunes.com . On the Bandcamp site The latter site now makes downloads Play the you can listen to whole tracks of almost the available in the standard mp3 format, Recorder, full albums. Reminiscent of the shareware the improved mp3 320 format, and the Stan’s Café model of software distribution, you can significantly better FLAC format when (Kathryn Bennetts and Peter download high-quality audio or purchase one purchases (for download) the entire Bowman, recorder soloists; physical discs for a minimum price there. album Levantera by East of the River. Sarah Langdon, Clare Murphy, Kate Rose, Charlotte Hiller, Ben Rose, Maryanne Happy 75th Birthday, ARS! Coughlan, Kathryn Harris and Emily Bannister, record- ers; Suzie Purkis, mezzo- soprano; Sebastiano Dessanay, double bass; Dan Watson, conductor); Fumiko Miyachi, harp­sichord; and Decibel (Michelle Hollo­way, recorder; Jack McNeill, clarinet; Neil McGov­ern, ; Martyn Sanderson, trombone; Eliza McCarthy, piano; Damien Harron, percussion; Paul Norman, e-guitar; Barbara

www.AmericanRecorder.org Winter 2014 25 Lüneburg, violin; Sebas­tiano Dessanay, bass). ... meditative, astounding, intense Birmingham Record Company, 2014, 2 CDs, 84:38 . CD with booklet: abt . $16 50. + S&H (usually free); or mp3 and disturbing all at once.... downloads: http://michaelwolters.bandcamp.com/album/ I affirm [Tim] Broege’s description kathryn-and-peter-play-the-recorder, abt . $11 50. , or www. of this music as “spellbinding.” iTunes.com, $9 99. . German-born British composer Michael Wolters has Disc one of Kathryn and Peter Play the Recorder contains written a significant body of work for recorders .The two chamber works for recorders, voice and other instruments . discs, Danserye and Kathryn and Peter Play the Recorder, The Voyage, performed by the ensemble Stan’s Café, has a present his compositions involving the instrument bit of the flavor of Benjamin Britten’s Noye’s Fludde plus a spanning the years 1998-2013 . touch of Laurie Anderson’s tongue-in-cheek approach to As knowledgeable readers may gather from the text and performance . Microtones join with lively dance title, Danserye is a reworking of music from the 1550s by rhythms in She Stays for two recorders .Translated text Tielman Susato .Those tunes are core by Franz Kafka in an amazing vocal setting join angular repertory for early instrument ensembles .The original harpsichord phrases and recorders playing microtonal versions can be heard on many recordings, among the intervals for My Own Step-Song. best being the 1998 disc by and the New The musical language of Shakespeare Songs for London Consort (L’Oiseau-Lyre #436131) . mezzo-soprano voice and two recorders returns to a Wolters takes these much-loved dances and plays with much more accessible tonal and rhythmic idiom . them both in timbre and phrasing, yielding an ear-catching This disc concludes with Deutsche Volksweisen (German collage . His transformation was done in collaboration with Folk Tunes) performed by the ensemble Decibel .The treat- choreographer Sebastian Matthias, for a performance in ments are more straightforward for these than in Danserye, which the four musicians and four dancers were treated and the larger ensemble provides a satisfyingly full sound . as equally import, and which sought to connect the worlds Wolters’s music for the radio play Kathryn und Peter of social and art dance .This music is a surprising—yet very durchqueren die Antarktis (Kathryn and Peter cross the accessible—energetic take on these Renaissance pieces . Antarctic) received mention by AR columnist Tim Broege

26 Winter 2014 American Recorder (“On the Cutting Edge,” September In Search 2004 AR) and now is available as disc of two of this set .The music is meditative, Dowland: astounding, intense and disturbing all Consort at once . It may not appeal to every Music listener, but I commend it highly . of Focused listening (particularly using from Lacrimae, or Seven Teares (1604) . and Carl Rütti, bFive headphones) to all 40 minutes and 24 The other five are the Dowland-Suite Recorder Consort (Markus seconds attunes one to the shimmering (2012) by Carl Rütti . Bartholomé, Kate­lijne microtones and the virtuosic breath John Dowland was a significant Lanneau, Thomas List, Silja- control . I affirm Broege’s description composer of the Elizabethan period, Maaria Schütt, Mina Voet, of this music as “spellbinding ”. whose remarkable melodies in both recorders). The recordings of both Danserye Coviello Clas­sics lute songs and consort music find and Kathryn and Peter Play the Recorder COV91415, 2014, 1 CD, 58:45 . CD appeal well beyond the early music http://wom.de sound great .The notes are helpful in abt . $20 50,. ; or as down- world . Allusions to his music occur as www.iTunes.com the CD booklet, especially for the lat- loads from , $9 99. . far afield as Philip K . Dick’s 1974 novel ter double-disc set . However, though Information at www.covielloclassics.de/ Flow My Tears, the Policeman Said . An the design appeals visually, the type is index.php/detail_en/items/215.html . earlier, also successful, musical rework- too small for comfortable reading and The bFive (or B-Five on some ing of these lute songs used avant-jazz text layout not as helpful as it could be . web sites) Recorder Consort sound is musicians and can be heard on John Given the clear audibility of the thick and organ-like .Their matched Potter and Manfred Eicher’s 1999 sung text, these are instances in which Renaissance instruments by Adrian recording In Darkness Let Me Dwell, I recommend downloading in the Brown, as well as their solid ensemble performed by The Dowland Project FLAC format rather than purchase skill, make that possible .Their celebra- (ECM1697, CD4652342) . of physical discs . tion of Dowland has 18 tracks, 13 of Rütti, a Swiss organist and com- which are Dowland’s consort music poser, wrote his suite for bFive and

www.AmericanRecorder.org Winter 2014 27 treats the source material with elegant the works fit together well, and both In very wonderful and appealing and effective restraint .Thoughtful the Lacrimae and Dowland-Suite ways, the 12 pieces on Levantera con- sequencing on the disc encourages benefit . tinue the work by East of the River on the listener to be guided into the The sound on the disc is wonder- their 2007 eponymous release . While Dowland works via the Rütti .The ful, with a great acoustic image of the the sound reflects the Mediterranean movements of the new suite appear quintet .The booklet in German and (particularly in the asymmetrical as track numbers one, eight, 13, 14 English provides a great deal of infor- meters) rather than the northern and 18 . While there is no mistaking mation and makes purchase of the European soundscapes of the Wolters Rütti’s compositions for Dowland’s, CD version worth it . and Dowland/Rütti discs, I sense much common ground here . Levantera Recorder players Daphna Mor East of (also playing the Persian ney) and Nina the River, Stern (also playing chalumeau, ancestor •Workshops Daphna to the clarinet) lead this quintet of •Masterclasses Mor, familiar instruments alongside less •Ensemble Coaching recorder/ familiar: violin, oud, jaw harp, a variety •Recitals ney; Nina of hand percussion, and kanun, a 72- to •Recordings Stern, recorder/chalumeau; 75-string plucked Turkish zither .The Tamer Pinarbasi, kanun; Jesse musical conversation among the tracks Congratulations and Kotan­sky, violin/oud; Shane on Levantera places Medieval dances Thanks to the ARS! Shana­han, percussion/jaw amidst traditional dance and instru- harp. East of the River Music, mentally-played songs from Turkey, 2013, 1 CD, 51:13 . $14 99. + S&H, Greece, Bulgaria and Macedonia; and www.cdbaby.com/cd/eastoftheriver; with improvisations in traditional or as downloads at CDBaby or iTunes, idioms by Tamer Pinarbasi (kanun) $9 99. . and Shane Shanahan (frame drum) . Just as Wolters and Rütti rework earlier material, Mor and Stern arrange the 14th-century Italian Ghaetta and 14th-century English Petrone (more widely known as Retrove from the Robertsbridge Codex), both to utilize the resources of their ensembles and to highlight the commonplace within the Eastern Mediterranean repertory . And just as with the recomposed Susato dances and fantasias of Dowland, the result is a surprising combination of somewhat disparate familiar ingredients .The timbres con- nect the dots among the musical cul- tures represented on this recording . The quality of the recorded sound is just right for this ensemble—thus I think the CD is a good choice . It was also a wise decision by East of the River to make freely available online detailed notes about the pieces and the ensemble, making the option to down- load higher quality files very appealing as well—in this case, it’s your call .

28 Winter 2014 American Recorder Music Reviews ______Recorder music of the 18th century ______and some neo-18th-century works

VIER FANTASIEN, by Georg Philipp Telemann, www.folias.nl. He holds a B.Mus. in composition from Ohio ed. Franz Müller-Busch. Girolamo Musikverlag State Univer­sity and M.Mus. in his­tor­ical per­formance practices G12 027. (www.girolamo.de), 2009 . A . Sc 11 pp . Abt . $18 . from Wash­ington Uni­ver­sity. In the 1980s, he played oboe with If you’ve mastered Telemann’s 12 flute fantasias, you’ll Tafelmusik Baroque Orchestra and with the Studio de musique be pleased that four more of these delightful, but challeng- ancienne de Montréal. ing, unaccompanied solos from his violin fantasias await your attention .Telemann published the flute fantasias in 1732-33; Studies by Giorgio Pacchioni. Ut Orpheus 12 for violin followed in 1735 . He also composed solo fanta- Edizioni (www.utorpheus.com, www.sheetmusicplus.com) sias for the bass viol . All have enjoyed numerous recordings and transcriptions, including one for alto trombone! Versions DIMINUTION MANUAL FROM WORKS BY of the violin set have appeared for the viola and ’cello . A. CORELLI AND G. PH. TELEMANN. DM7, 1994 . A (vln, flute, viol) . Sc 29 pp . $15 95. . If you’ve mastered Telemann’s 12 flute 8 PRELUDES (STUDIES) FOR TREBLE RECORDER fantasias, you’ll be pleased that four IN MELODIC PROGRESSION FROM PAOLO BENE­ more of these delightful, but challenging, DETTO BELLINZANI’S SONATE A FLAUTO SOLO unaccompanied solos from his violin (VENEZIA 1720). DM40, 2006 . A . Sc 14 pp . $11 95. . 9 PRELUDES (STUDIES) FOR TREBLE RECORDER fantasias await your attention. IN MELODIC PROGRESSION FROM FRANCESCO Although unaccompanied solos for woodwinds in MANCINI’S XII SOLOS (LONDON 1724). DM41, the Baroque are few, Telemann was not their sole purveyor: 2006 . A . Sc 15 pp . $11 95. . J S. . Bach composed a partita for unaccompanied flute, INSTRUMENTAL PASSAGES IN MELODIC BWV1013, while C P. E. . Bach wrote a solo flute sonata, PROGRESSION FOR VIOLIN OR RECORDER H 562. . (Dan Laurin has recorded both in recorder transcrip- IN C AND G FROM FRANCESCO ROGNONI’S tions ). Particularly in the Largo of Telemann’s Fantasia No. SELVA DE’ VARII PASSAGGI (MILANO 1620). 10 in D (F in the present edition), one finds melodic motives DM42, 2006 . Vln/C or G rec . Sc 28 pp . $13 95. . characteristic of C P. E. . Bach, Telemann’s junior by 33 years . INSTRUMENTAL PASSAGES IN MELODIC PRO­ Franz Müller-Busch, who founded Girolamo in 1995, GRESSION FOR VIOLIN OR RECORDER IN C AND has selected the violin fantasias requiring the least adapta- G FROM AURELIO VIRGILIANO’S IL DOLCIMELO tion . He has arpeggiated occasional double-stops, converted (ca.1600). DM43, 2006 . Vln/C or G rec . Sc 16 pp . $11 95. . some to appoggiaturas, and omitted others entirely . For many years, Giorgio Pacchioni has been adding to Both the flute and violin fantasias are diverse in the an ongoing series of pedagogical works based on the music number and character of movements . Although not named of recorder composers of the past .These five volumes join as such, a gavotte, a siciliana and two gigues are present . 28 Preludes from Works by Corelli, Bach, Telemann (DM3) and The editor has added trills and articulations suitable Diminution Manual from Works by Jacob van Eyck (DM5) . for the recorder and has transposed all selections up—one The guiding principle throughout the series is that by as much as a perfect fifth, another by just a minor third . Pacchioni has searched through the original scores to find Respecting the recorder’s range, he has also undertaken spar- characteristic melodic patterns, which he has excerpted and ing pitch alterations (e.g., in m . 5 of TW40:20, changing A adapted to make either source books of short fragments to D in the second 32nd-note group) . Editorial procedure (DM7, 42, 43) or longer, more coherent studies (DM40, 41) . is explained in a rather awkward English translation . In most cases, Pacchioni’s main method has been to expand Anthony St. Pierre, of Toronto, ON, has composed exten- the original melodic material into extended sequences, sively for recorders. His Folia à 4, third prize in the 2007 simultaneously allowing the student to study the style of Chicago Chapter’s composition competi­tion, may be heard at: the music and to work at technical aspects of the music . In

www.AmericanRecorder.org Winter 2014 29 DM7, the melodic fragments are pre- good general feeling for each compos- each study . DM42 and 43 will also be sented without any supplementation . er’s style, though the collections’ utility valuable as practice in transposition for Although Pacchioni provides an is reduced somewhat by the fact that G recorder . Presentation throughout introduction to DM7, giving a short there are no detailed indications of the the volumes is attractive, and the very description of his intentions and his original context for any of the melodic few errors are easily identified by their sources (Telemann’s Methodical Sonatas fragments . position within the larger melodic and Corelli’s sonatas, Op . 5), he does In DM7, Pacchioni composes set- sequences . not give any advice as to the interpreta- tings of the Follia bass and the slow Those students with a serious tion of the excerpts . His colleague, movement of Telemann’s F Major interest in any of this repertoire will Antonio Lorenzoni, gives a little more Sonata, TWV41:F2, in the decorative appreciate the unique perspective guidance in the introductory notes to styles of both Corelli and Telemann . brought to the music by Pacchioni’s DM40 and 41, but all the volumes are The result is an intriguing exercise, approach . evidently intended primarily as collec- especially the elaboration of a Tele­ tions of source material to help stu- mann original in the style of Corelli! TAMPER RESISTANT, by Dan dents explore ideas and playing tech- These collections will also be use- Becker (after Telemann). PRB niques learned elsewhere . ful as articulation exercises, since many Productions CI030 (www.prbmusic. By playing through Pacchioni’s of the melodic patterns are quite fast com), 1996 . Baroque flute, Baroque excerpts, a student will certainly get a and are repeated many times within oboe, Baroque vln, viola da gamba, hc . Sc 20 pp, pts 4 pp ea . $20 . Tamper Resistant takes as its starting point the second movement of the G major quartet from Book I of Telemann’s Tafelmusik. In the notes accompanying the score, Becker (who studied with composer Terry Riley, one of the leading lights of the minimalist movement) describes how he treats Telemann’s music “like silly putty: twisted, stretched, and shaped into a minimalist image of itself ”. Telemann’s motives are teased out with hesitations and repetitions to become a sort of meditation on the gestures of the original . For instance, harmonies predominantly are divested of their forward momentum, leaving just the warmth of the triads and the occasional punctuation of a perfect cadence . As with much minimalist music, the piece is principally ener- gized by a consistent rhythmic flow . While process-oriented music such as this can seem somewhat simple in its highly conceptual origin, there is a great deal of both art and craft in the way interest is maintained throughout the piece’s nine-minute length .Tex­ tures are constantly varied and choices are carefully made as to which musical elements are combined at any given moment . Becker has scored for the same instrumentation as Telemann’s original, 30 Winter 2014 American Recorder save that the continuo instruments American Recorder Society Publications (gamba and harpsichord) are each given a separate part . He specifies on Musical Editions from the Members’ Library: Additional hard copies may be ordered: ARS Members, $3; non-members, $5 (including U.S. postage). the title page that the flute, oboe and Please ask about discounts for multiple copies. ARS Members may also download at the ARS web site. violin are to be in their Baroque (not Algunos lugares 1 (A solo) Marcelo Milchberg LeClercq’s Air (SATB) Richard E. Wood

modern) form, and he gives a nod to Arioso and Jazzy Rondo (AB) Carolyn Peskin Little Girl Skipping and Alouette et al Belmont Street Bergamasca (ATB) Sean Nolan (SATBcB) Timothy R. Walsh period performance by indicating that Berceuse–Fantaisie (SATB) Jean Boivert Los Pastores (S/AAA/T + perc) Blues Canzonetta (SATTB) Steve Marshall Virginia N. Ebinger, arr. performers “should feel free to take as Bruckner’s Ave Maria (SSATTBB) New Rounds on Old Rhymes (4 var.) many liberties as desired in regard to Jennifer W. Lehmann, arr. Erich Katz Canon for 4 Basses (BBBB) David P. Ruhl Nostalgium (SATB) Jean Harrod applying any Baroque performance Dancers (AT) Richard Eastman Other Quips (ATBB) Stephan Chandler Danse de Village (SAB) Kevin Holland Poinciana Rag (SATB) Laurie G. Alberts practice conventions” and by asking Different Quips (AATB) Stephan Chandler Santa Barbara Suite (SS/AA/T) Erich Katz the harpsichordist to realize continuo Elegy for Recorder Quartet (SATB) Sentimental Songs (SATB) David Goldstein, arr. Carolyn Peskin Serie for Two Alto Recorders (AA) figures in several sections . Elizabethan Delights (SAA/TB) Frederic Palmer The individual instrumental Jennifer W. Lehmann, arr. Slow Dance with Doubles (2 x SATB) Faded Memories/Opus 88 (ATBB/SATB) Colin Sterne parts are no more demanding than William Ruthenberg Sonata da Chiesa (SATB) Ann McKinley Fallen Leaves Fugal Fantasy (SATB) S-O-S (SATB) Anthony St. Pierre in Telemann, but the concentration Dominic Bohbot 3 Balkan Line Dances (SATB) Emilie George, arr. necessary to match the other members Four Airs from “The Beggar’s Opera” (SATB) Three Bantam Ballads (TB) Ann McKinley Kearney Smith, arr. Three Cleveland Scenes (SAT) Carolyn Peskin of the ensemble through Becker’s con- Gloria in Excelsis (TTTB) Robert Cowper Three in Five (AAB) Karl A. Stetson He Talks, She Talks (AT) Bruce Perkins Tracings in the Snow in Central Park (SAT) stantly shifting patterns puts the piece Havana Rhubarb Rhumba (SATB up to Robert W. Butts on another plane entirely . It will pro- 7 players) Keith Terrett Trios for Recorders (var.) Idyll (ATB) Stan McDaniel George T. Bachmann vide a good challenge to an advanced, Imitations (AA) Laurie G. Alberts Triptych (AAT/B) Peter A. Ramsey even professional, ensemble . In Memory of Andrew (ATB) David Goldstein Two Bach Trios (SAB) William Long, arr. In Memory of David Goldstein (SATB) Two Brahms Lieder (SATB) The piece is dedicated to the Will Ayton Thomas E. Van Dahm, arr. Lay Your Shadow on the Sundials (TBgB) Variations on “Drmeš” (SATB) Martha Bishop American Baroque, who can be Terry Winter Owens Vintage Burgundy (S/AS/ATT) heard performing the work at www. Leaves in the River (Autumn) (SATB) Jennifer W. Lehmann, arr. myspace.com/danjbecker/music Erik Pearson Western Union (ATBgB) Peter Dixon or on ZIP Code Boogie (SATB) Charlotte Van Ryswyk the Santa Fe New Music CD, The ARS Information Booklets: ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 Shock of the Old . Tamper Resistant Non-members: 1 booklet-$18, 2 booklets-$33, 3-$44, 4,$55, 5-$66, 6-$76, 7-$86 would make a highly entertaining *Free online to ARS members project for any early music group Adding Percussion to Medieval and Improve Your Consort Skills Susan Carduelis Renaissance Music Peggy Monroe Music for Mixed Ensembles wanting to explore the world of new *American Recorder Music Constance Primus Jennifer W. Lehmann Burgundian Court & Its Music *Playing Music for the Dance Louise Austin music written for old instruments . Judith Whaley, coord. *Recorder Care Scott Paterson Scott Paterson, a former ARS Board Education Publications Available Online and Free to Members member, teaches recorder and Baroque The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). flute in the Toronto (ON) area, where he Guidebook to the ARS Personal Study Program (1996). . Graded list of solos, ensembles, and method books. is a freelance performer. He has written ARS Music Lists on music for various publications for over Videos Available Online to All 25 years, and now maintains his own Recorder Power! Educational video from the ARS and recorder virtuoso John Tyson. An exciting resource about teaching recorder to young students. studio after over 30 years at the Royal Pete Rose Video. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recital. The video features Rose performing a variety of music and in an interview with ARS Conservatory of Music of Toronto. member professional John Tyson. KEY: rec=recorder; S’o=sopranino; S=soprano; A=alto; T=tenor; B=bass; Other Publications gB=great bass; cB=contra bass; Tr=treble; Chapter Handbook. A resource on chapter operations for current chapter leaders or those qrt=quartet; pf=piano; fwd= foreword; considering forming an ARS chapter. ARS members, $10; non-members, $20. One free copy sent to each ARS chapter with 10 members or more. opt=optional; perc=percussion; pp=pages; Consort Handbook. Available Online and Free to Members. sc=score; pt(s)=part(s); kbd=key­board; Resource on consort topics such as group interaction, rehearsing, repertoire, performing. bc=basso continuo; hc=harp­sichord; P&H=postage/handling . Multiple reviews Shipping & Handling Fees: Under $10 - add $3; $10-19.99 - add $4; $20-29.99 - add $5; $30-39.99 - by one reviewer are fol­lowed by that add $6; $40-49.99 - add $7. All prices are in U.S. dollars. For Canadian or foreign postage, pay by credit card review­er’s name . Publi­ca­tions can be pur- and actual postage is charged. Please make checks payable to ARS. VISA/MC/AMEX/Disc also accepted. chased from ARS Business Mem­bers, See www.AmericanRecorder.org for complete publication offerings. your local music store, or directly from some distributors . Please submit music ARS, 10000 Watson Rd., Suite 1L7 and books for review to: Sue Gros­kreutz, St. Louis, MO 63126 U.S. 800-491-9588 1949 West Court St., Kankakee, IL 60901 U.S., [email protected] [email protected].

www.AmericanRecorder.org Winter 2014 31 three Noetzel Editions, French court to German music . Several this involved turning the instruments arr. Ulrich Herrmann of his surviving chamber works reveal to non-standard pitches . (www.edition-peters.com) this influence, including this work . A Tafelmusik translates from German gifted composer, his melodies are fresh to English as “table-music”; it is music TAFELMUSIK, by Johann and original, his rhythms and harmony meant to be played during indoor or Fischer. N3937, 2008 . Sc 15 pp, varied and engaging . His music was outdoor social events and is lighter in pts 4 pp ea . $16 95. . widely played during his lifetime and texture and character than music meant Information from the Oxford highly praised by his fellow German for chamber concerts or more formal Online Dictionary states that Johann composer Johann Mattheson . Fischer listening occasions .The word Tafel­ Fischer (c 1646-1716). helped to trans- was an important pioneer in scordatura musik is often used as a title for collec- plant the French style of Italian-born tunings in some of his compositions for tions of pieces, including popular ones composer Jean-Baptiste Lully from the the violin (and less often for the viola); created by Schein, Praetorius and Telemann . In the second half of the 18th century, Tafelmusik merged with the divertimento and the serenade; by the 19th century, the practice of com- posing music for mealtimes was out of fashion . This particular collection was originally composed for strings; it was in the key of A minor and has been transposed to G minor . The first movement progresses in French overture style through an Ouvertüre, an Allegro and a Grave . The Ouvertüre contains the expected dotted rhythms .The Allegro is imita- tive and contrapuntal, but not strictly fugal . It is light in texture, featuring recorder parts that run around in thirds, sixths or tenths .The Allegro cadences right into the first chord of the Grave, which returns to the dotted- rhythms against a more active bass line . The second movement is an Entrée (entrance or opening dance) and again uses dotted rhythms .The third movement, a Menuet and Trio, is very simple to play, mostly homo- phonic, and quite pleasant with nice contrary motion between the bass line and the upper parts . The fourth movement is a simple, elegant Air with an active bass line . The fifth, called a Chaconne, is not a chaconne in the literal sense of the word—it does not repeat a harmonic series over and over; rather, it is more of a spinning out of a series of ideas using modulations to the relative major and back, plus some extended phrases . It is the most active and challenging of the six movements .The soprano and 32 Winter 2014 American Recorder sodic sections become a flurry of con- the third piece in Tele­mann’s third This is a great piece for stant eighth notes, including bright book of Tafelmusik—music intended those who work with less spots of repeated notes and brief sec- for entertainment and social occasions, advanced players, as well tions of arpeggios played on the alto tending to be light in texture . as those who are themselves and tenor .This movement requires This trio opens with an Andante, new at ensemble playing. upper intermediate players . then an Allegro, both in F major . In the third movement, a Tendre­ Then follows a two-measure Grave bass lines have arpeggiated sections ment in D minor, the soprano per- that serves to modulate to D minor . that might require some practice . forms melodic material in dotted Next comes a very nice Largo, in The alto and tenor lines get in on rhythms, sometimes in parallel motion D minor, followed by a second two- some stepwise running eighths . and sometimes in contrary motion measure Grave ending on an A major The final movement is a simple with the alto, resulting in delightful chord .The final Vivace begins in the Gavotte, mostly homophonic rhythms . voice exchanges .The tenor and bass home key of A major .The two alto This piece fits perfectly on record- provide constant harmonic support parts are an exact transposition, down ers . It is all easy to play technically and in the form of eighth notes (with a minor third, from the original trio rhythmically, and appropriate for lower occasional rests in the tenor part) . sonata .The altos often play in parallel to mid-intermediate players and per- In the concluding movement, a thirds and sixths; other frolicking sec- haps even for advanced beginners . Gayment in F major, all parts are given tions toss charming melodic motives This is a great piece for those who challenging strings of 16ths . While the back and forth .There are some Scotch work with less advanced players, as bass part may have been tamer in the snap syncopated rhythms and mildly well as those who are themselves new previous three movements, there is no challenging arpeggios . Both alto parts at ensemble playing .There is ample slacking off in this final movement! use high F and G multiple times . opportunity for newer players to do Hermann has arranged this The bass part required consider- initial work to understand hemiola . chamber piece to fit nicely in the able alteration from the original; Ulrich Herrmann continues to comfortable ranges of recorders . octaves have changed, and octave leaps choose great music for new recorder I congratulate him on a successful are now repeated notes . As often hap- arrangements .This publication of six arrangement of a great piece . pens when arranging a trio sonata for a Tafelmusik movements is an overall trio, the bass part can be somewhat less delight to have set for recorders . Trio F-Dur aus der Tafel­ enjoyable to play in comparison to the musik 3, by Telemann. N3918, other parts .There are some scalar pas- QUARTETT F-DUR, 2009 . AAB . Sc 8 pp, pts 4-5 pp ea . sages, but this bass line is mostly har- by G.P. Telemann. N4516, 2009 . $16 95. . monic support with lots of repeated SATB . Sc 12 pp, pts 4-5 pp ea . $16 95. . This arrangement was originally notes .The line is much more fun to This new arrangement was origi- a delightful, light-hearted trio sonata play in its original form while impro- nally composed in Bb major for two for two flutes and basso continuo . vising the right hand on harpsichord! alto recorders, two , viola and This new version for AAB, transposed Advanced intermediate players basso continuo . It has been transposed to F major from the key of D major, could master this trio, but the two alto up a fifth to better accommodate becomes a nice recorder trio . players must work out trills that are recorder ranges . No TWV number is There were two initial challenges tightly together .The bass part uses lots included; thus, I was unable to locate in writing this review . First, the TWV of low F, so the bass player will need an the original for comparison . number of the original was not instrument that responds well on this This four-movement quartet included, forcing a hunt through the note—especially in the Allegro where opens with a Grave in F major . Homo­ WIMA archives for the original trio there is an entire measure of repeated phonic in texture, the movement places sonata, TWV42:D5 . Second, I like to low F in triplets . With a willing bass the soprano and alto lines mostly in start each review with a thorough study player, this is a very nice trio . parallel rhythms, and also the tenor and of the score—but this score is printed Sue Groskreutz has music degrees bass lines .Technically speaking, this in such tiny notes that it forced an from Illinois Wesleyan University and movement is very easy and could be unplanned visit to the eye doctor! Even the University of Illinois, plus Orff- played by lower intermediate players . then, it was difficult to read . Fortu­ Schulwerk certification from DePaul The second movement is a Vivace, nately, this is not a problem with the University. Playing and teaching recorder still in F major . It is more contrapuntal parts, which are clear and easy to read . are the greatest musical loves of her life. and opens with a lively melody that is The introductory information For 10 years she was president of the repeated at various pitches . Lots of epi- (only in German) states that this is American Recorder Teachers’ Association. www.AmericanRecorder.org Winter 2014 33 BAROCKE ADAGIOS FOR FLUTE (/ Cassignol has chosen RECORDER) AND GUITAR, arr. four really nice examples Jean Cassignol, flute; Michel that work very well on Démarez, guitar . Gilgenreiner the recorder and sound Verlag (www.gilgenreiner-verlag.ch), 2011 . A/flute, guitar . Sc 14 pp, 2 pts very rich as recorder/ 4 pp ea . Abt . $19 . guitar arrangements. Jean Cassignol has a degree in sax- ophone and recorder . In 1976, he was a wrongly attributed to Vivaldi . finalist in the Paetzold competition in It now bears the reference RV Munich, Germany . In 1997 he recon- Anh . 16 in the Ryom catalogue . structed and arranged for recorder a We used Bach’s transcription concerto by (RV312R, BWV 974 in our arrangement ”. reviewed on the facing page) that the These are typical Baroque-style composer had originally composed for Adagios, in that they are graced with the violin . . the written-out ornamentation in 16th Cassignol has arranged numerous and 32nd notes . Of course, they go solos, duets and chamber music for the slowly enough that they are still play- recorder . His arrangements are pub- able by a less experienced player who lished in Germany by Hofmeister, practices . Heinrichshofen, Noetzel, Tonger and The suggested metronome mark- Tre Fontane . He has also authored sev- ings are =60, and =60, 66 and 70 . eral articles in the dictionary Lexikon A recorderistq who eworks straight der Flöte (Laaber Verlag, 2009) . His through the book will notice that the collaboration with Michel Démarez Adagios increase in speed and diffi- has interested him in a new concert culty . repertoire for the recorder (or flute) Players will need to breathe and guitar, with several releases at quickly and logically in long passages Arpèges-IMD, Lafitan, Gilgen­reiner, of continually running notes . I could Hofmeister and Soldano . see a serious recorder student using The four pieces in this collection these to build up technique and fluidity are “extracts from works,” according in playing . to the front cover: Of all the Adagios available in • two by Antonio Vivaldi (1678- Baroque repertoire, Cassignol has cho- 1741)—Largo” from Flute Con- sen four really nice examples that work certo, RV106, original key Bb major, very well on the recorder and sound now in A; and “Larghetto” from very rich as recorder/guitar arrange- Violin Concerto, RV230, “L’Estro ments .The guitar part requires an Armonico,” Op . 3, No . 9, in the experienced Classical guitarist . original key These four Adagios are a wonder- • Georg Philipp Telemann (1681- ful option for accomplished musicians 1767), “Largo” from Flute Concerto, looking for a challenge and something TWV51:D2 (original key B minor, a bit different from the usual solo now A minor) recorder/figured bass fare . • Alessandro Marcello (1684-1750), Valerie E. Hess, M.M. in Church “Adagio” from Oboe Con­certo (after Music/Organ from Valparaiso Univer- the original in D minor, Amster­ sity, is Coordinator of Music Ministries dam, 1717) . A further note from at Trinity Lutheran Church, Boulder, the arrangers on this piece: “This CO, where she directs the Trinity Con- work which was transcribed for sort. She has also published two books harpsichord by J . S . Bach was on the Spiritual Disciplines.

34 Winter 2014 American Recorder CONCERTO D-DUR RV 312R, by Vivaldi, movement involves 16th-note repeated chords in the piano arr. Jean Cassignol (soprano recorder part) part from beginning to the end, and thus might be quite a & Anne Napolitano-Dardenne (keyboard challenge (if one chooses to use harpsichord) in keeping reduction). Noetzel N4498 (www.edition-peters.com), these chords quiet enough to let the solo line shine through . 2009 . S, kbd . Sc 20 pp, pt 10 pp . $22 . These are normally played as staccato notes in the strings, According to Jean Cassignol’s preface notes, the violin but no such staccato indication is seen in the score . concerto RV312 started out as a flautino concerto, but The third movement sometimes contains two ossia Vivaldi changed his mind: “ . . . it is possible to make out the staves (mm . 13-18; 68-73; 85-90) in addition to the original word flautino next to the word violino when viewing the violin part . I prefer the top ossia because it has fewer repeated manuscript at the Biblioteca Nazionale in Turin . On the notes and more Vivaldi-type arpeggios . In mm . 38-60, there palimpsest of this authentic three-movement violin concerto, are two ossia staves, but no original violin part; this is because RV 312, the first movement includes the erased sketch of an Vivaldi’s manuscript featured only a harmonic scheme with earlier flautino concerto, which was apparently considered arpeggios (see illustration) .The top ossia staff features 16th- unplayable by a soloist from 1728-1729 and prompted note triplets, each triplet repeated four times per measure . Vivaldi to compose new solo sections for a violin principale The bottom staff features similar groupings of four 32nd without making the flautino parts ‘illegible’ ”. notes . Which is harder to play? Such a choice… .They are Cassignol has reconstructed (RV312R) and returned both finger twisters for advanced players . Personally, I’d go this delightful concerto to its recorder roots by transposing for the triplets . (Listen to the whole work as a violin con- it from G major to D major, and setting it for soprano certo, RV312, in the key of G major, at www.youtube.com/ recorder .This version is for soprano and keyboard reduction watch?v=YxEuya4kN7I; or part of the recorder reconstruc- only; no string parts are included . (A score and string parts tion, played by Dorothee Oberlinger, at www.youtube.com/ in the original key of G major for sopranino or alto, or trans- user/recorder38/videos ). verse flute, may be purchased from Cassignol, BP60004, Typical of Vivaldi, this concerto requires a very 95472 Survilliers Cedex, France, [email protected] ). advanced recorderist as well as an advanced keyboardist . But The recorder part shows the original violin scoring so some of the ossia passages might actually bring this concerto that players know exactly what had to be altered to bring this within the reach of a very advanced intermediate player . In concerto to the recorder world . Ossias by Cassignol keep the any case, it’s a great workout for anyone who wants to prac- music in range and also remove some very awkward leaps . tice scale-work and arpeggios at any tempo . Stylistically, this is a typical three-movement concerto with an Allegro, a Larghetto, and a final Allegro (molto) . SINFONIA D-MOLL AUS DER KANTATE “GEIST The first and third movements feature tutti sections where UND SEELE WIRD VERWIRRET” (BWV 35) by the accompaniment is very full and active, and solo sections Bach, arr. Dagmar Scher­schmidt . Heinrichshofen where the orchestral reduction becomes tamer .The second N2666 (www.edition-peters.com), 2010 . SSAT kbd, ’cello, or SSATB . Sc 18 pp, 5 pts 3 pp ea . $23 . This arrangement is a reworking of the opening Sin­ fonia of Cantata 35 “Geist und Seele wird verwirret” (Spirit and Soul Become Confused), originally composed in Leipzig in 1726 for the twelfth Sunday after Trinity .The premier performance took place on September 8, 1726 .The original instrumentation for this Sinfonia includes two oboes, one taille (tenor oboe), string orchestra and obbligato organ . Scherschmidt states that this arrangement is faithful to the original, and he lists the various octave transpositions and other compromises that had to be made because of the wider range of the obbligato organ .The dynamic markings are original markings from Bach’s autograph manuscript .To quote from the preface: “Bach’s Sinfonia does not contain a figured bass .To lend the arrangement an additional tonal color in the manner of a trio sonata, a part was prepared for Vivaldi, Concerto D-Dur, mm. 41-60 as origi- keyboard or based on the basso continuo ”. nally written (manuscript Foà 30, fol. 98r, This arrangement works nicely on SSATB recorders, Biblioteca Nazionale Universitaria, Turin) but it also works well as SSAT plus harpsichord and ’cello or www.AmericanRecorder.org Winter 2014 35 bass gamba—in fact, we preferred the TWO SONATAS IN BAROQUE The second movement Allegro latter instrumentation, as the right STYLE FOR RECORDER OR uses syncopation in the recorder part, hand of the keyboard fills in thinner FLUTE, HARPSICHORD AND sometimes accompanied by first inver- spots where fewer instruments play . B.C., by Timothy Ariel Walden. sion descending triads (fauxbourdon) in The keyboard also provides a welcome PRB Productions Contemporary the realization .The lovely third move- right-hand countermelody over a long Instrumental Series No . 23 ment Largo is full of Baroque gesture, www.prbmusic.com pedal point, as three instruments sus- ( ), 2009 . A or flute, particularly the sigh . tain whole notes and the first soprano hc, bc . Sc 28 pp, 2 pts 9 pp ea . $20 . The fourth movement Presto is performs difficult 16th-note figuration . The score briefly mentions that fun to play . Its many repeated notes All of the recorder parts have Timothy Walden, who was born in furnish a workout for the tongue . their challenges .This arrangement Jerusalem in 1972, studied recorder at The final, exciting movement will require a very strong first soprano the Con­servatoire de Genève (Switzer­ Gigue is my favorite movement of this player, as the part twists and turns in land) under Roger Bernolin, and also sonata . Sequences build upon a chro- the very high range .The second studied music at Galliol College and matically descending bass line, while soprano part also has some nice solo Oxford University (UK) . He divides there are occasional measures where all of the parts (including the suggested work, but is more sight-readable and his time among studying the Talmud, running a freelance typesetting busi- realization) come together for parallel has fewer tangles in the high notes . ness, and composing Baroque music . octaves, creating contrast from the The alto part has challenging sec- This is Walden’s premiere . neighboring material . tions that might be sight-readable by The first sonata’s five movements The second sonata is in C major, those who practice scales and arpeggios are all in G minor . Walden humbly with all five movements in C with the regularly .The tenor part is the easiest writes, “With the help of God,” on exception of the Largo, which is in the part to play, note-wise, but even the the first page of the score . relative minor key of A minor . tenor player will need to be comfort- The composer has realized his The first movement Larghetto able in the high notes . Ironically, the own bass line, but this is not an obbli- presents a florid solo line, written-out tenor part may be the most difficult gato harpsichord part . In fact, the com- ornamentation, and more complex rhythmically because it has more poser invites the performer to improve rhythms than the opening movement rests—and, thus, more tricky entrances, upon his realization . of the G minor sonata . Connecting so this part requires someone who is a The first movement is a Siciliana scales are written in the suggested rock-solid rhythm reader . in ABA form where the B section continuo part in the first and second The bass player will enjoy the functions a little like a development endings to usher in its repeats . usual wonderful Bach bass line .The section .The recorder, beginning alone, The second movement Allegro is newly created keyboard part is quite is soon imitated by the bass line, which light-hearted and again uses nice imi- nice; it isn’t too heavy or too light, and then begins a chromatically descending tation between the melody and the bass stays out of the way of the flurry of pattern .The B section has some really line .The third movement Lento is in melodic activity .The printed bass line nice ideas, but the realization in this 3/2, and its many chordal skips provide works for either the bass recorder movement could use a little dressing up ample opportunity for ornamentation . (sounding an octave up) or for the ’cello so as to avoid overdoing the “long- The suggested continuo part is almost (sounding at pitch) . Octave transposi- short” pattern—perhaps adding some all half notes, leaving room for creativ- tions needed on recorder are already melodic activity in the right hand . ity for the harpsichordist . indicated in small notes . Without giving a detailed analysis of modulations and key centers, I will mention that, typical of the great con- trapuntal master Bach, the key center travels often: there are passages in the home key of D minor as well as C major, A major, A minor, G minor, Bb major and D major . This is a great piece and a nicely done arrangement, but requires advanced musicians .

36 Winter 2014 American Recorder The fourth movement Allegro is a rondo with a lively theme (stated four times) that is fun to play without being difficult .The final movement Gigue is buoyant, but not quite as exciting as the Gigue that ends the first sonata . As previously noted, the harpsichord part was realized by the composer . Although Walden invites the performer to Although challenging, the arrangement is practical improve upon his realization, figures are not included (which overall . Perhaps the greatest obstacles lie in the inner voices, I hope will be added in future printings) . My personal opin- which render the violin parts . Although 16th-note broken ion is that the realization is a little heavy, but this worked to arpeggios (i.e., using non-adjacent chord tones, thus replete my advantage: it is easier to subtract notes than to add with fifths and sixths) are relatively easily executed on the notes—I thinned out the right hand considerably . violin, at a brisk tempo they are awkward on recorders . In These nicely-composed sonatas are quite idiomatic of the third movement, one such passage occurs in the upper the Baroque era .They use typical Baroque forms, harmonic tenor, mm . 44-55 . Since the lower tenor is tacit in this pas- rhythm and ornamentation . I like the use of imitation sage, an ossia (such as the one above) putting the first note between the solo line and the bass line . Our gambist praised of each four-note 16th-note group in one recorder, with the bass lines for their melodic interest . the following three notes of each group in the other What I didn’t like as much was a tendency towards would facilitate performance considerably . over-reliance upon repetition with terraced dynamics . Jean Cassignol has arranged extensively for Noetzel’s However, I have made the same observation about other recorder catalog, including producing two- three- and Baroque composers who are still performed today . I couldn’t four-voice arrangements of Vivaldi’s The Four Seasons . really state that this music sounds like any particular com- Anthony St. Pierre poser; thus, along with mastering the Baroque idioms, Walden has his own style and is not a direct replica of PIECES FOR MUNROW & HOGWOOD, by Wil­ any particular composer in my range of knowledge . liam Eden. Pea­cock Press PJT175 (http://recordermail. These pleasant sonatas are easier to play than the aver- co.uk), 2013 . S’o/S/T, hc, ’cello . Sc 36 pp, 2 pts 7-9 pp ea . age Baroque sonata—they might be very useful for young Abt . $15 50. . students who are just beginning to play sonatas . I must con- As the title suggests, this collection of eight pieces was gratulate Walden for his first publication, and add my appre- written for David Munrow and Christopher Hogwood, ciation to PRB for encouraging new composers . whom William Eden knew when they were together at Sue Groskreutz Cambridge University in the UK in the early 1960s . It was premiered by them then with ’cellist Naomi Butterworth . CONCERTO “LA NOTTE” RV 104, by Antonio Although the eight sections of the work are indepen- Vivaldi, arr. Jean Cassignol. Noetzel Edition dent, and each could stand alone, they are meant to be per- www.edition-peters.com N4469 ( ), 2009 . A/A(T)/A(T)/B (or formed as a set and are quite effective when performed that ATTB, AATB, AAAB) . Sc 13 pp, pts 6-8 pp ea . $24 . way . Despite the absence of specific titles, each section is a Perhaps you’ve always wanted to play this concerto, but vibrant character piece unto itself . lacked accompanists . If you can muster three adept record- In general, the music is in a clean post-Romantic style, erists, this arrangement of one of Antonio Vivaldi’s most but with a great deal of theatrical flair, and Eden uses a famous flute concertos will allow you to realize your dream . number of musical devices to give color and variety to the This work, Op . 10, no . 2, appeared as a concerto for different sections . For instance, the various recorder sizes are flute and strings, and for flute, bassoon and two violins, both used well, and some sections are scored for only one or two settings in G minor . Although no evidence that it was per- instruments; textures are varied considerably from a solo formed substituting alto recorder for flute has come to light, voice with accompaniment through sections of rapid inter- the adaptation is feasible by transposing to A minor, the key play among the three voices, as well as a variety of unison of the present arrangement .This edition is based on both effects . versions of the concerto . As is usual with Peacock editions, the presentation is (N.B. Vivaldi also composed a bassoon concerto entitled thoughtful and quite legible .There are a few typographical “La Notte”; it is entirely unrelated to the Op. 10 concerto.) errors, but they can be easily corrected . The music may date from as early as 1710, but the com- Although the piece is definitely for advanced players, it mission by Dutch publisher Le Cène for the Op . 10 flute is not dauntingly virtuosic . On the contrary, it will be found concertos did not come until 1728 . Vivaldi’s program to be quite approachable for both performers and listeners . revolves around the night’s eeriness as well as its calm . Scott Paterson

www.AmericanRecorder.org Winter 2014 37 Chapters, Consorts ______& Recorder Orchestras ______2014 birthday celebrations continue, busy time in Philly,Bergamasca in May

HAPPY BIRTHDAY The Los Angeles Recorder Orchestra (LARO) also “A Decade of Music” was the theme of a May concerts in celebrated its tenth year in 2014, performing a June pair of Boulder and Pueblo by the Colorado Recorder Orchestra, concerts as well as a special 10th-anniversary concert in which supports schools whose music teachers stress recorder September that chose favorite arrangements from the in their curriculum .The grant program offers the teacher the orchestra’s first decade . LARO’s 28-member group played opportunity to have students perform with CRO on con- on a wide range of recorders, from the nine-inch sopranino certs . Support to the schools, about $450-$500, is funded to eight-foot-plus subcontra bass . through donations at concerts . The program for June, “Reflections,” included a variety In addition to favorites from earlier programs, the May of movements from Telemann’s Water Music, followed by concerts included Mountain Mosaic by Glen Shannon, which selections from Peer Gynt Suite and the Holberg Suite, both CRO had commissioned . It was also on the program for an by Edvard Grieg . October concert pair in Colorado Springs and Broomfield . CRO began in May 2004 at the end of a Rocky work­ CCRO TIDINGS shop organized by the Denver ARS chapter .Workshop Voice teacher and award-winning writer Patricia Shanks of leader Ken Andresen, director of the Connecticut Recorder Newport Beach (CA) wrote a piece for the Examiner news Orchestra, gave advice for beginning a group; Jann Benson, site highlighting recorder groups in Southern California: Mary Scott and director Rose Marie Terada were the www.examiner.com/article/wouldn-t-you-like-to-be-a-piper- organizing committee for its October 2004 inaugural too. Groups mentioned are the Inland Recorder Society, concert . See www.ColoradoRecorderOrchestra.org . based in Riverside; San Diego County Recorder Society; Orange County Recorder Society; and the Southern California Recorder Society for those near Los Angeles (with some smaller groups from the last chapter also highlighted) . The Northwinds Recorder Consorts in Michigan were a success in helping raise money for the Great Lakes Chamber Orchestra .They were part of the Renaissance Dinner prize— with Chef Dan Flynn and with the recorder consort as background music—as well as a second offer to play music for another private event . CHAPTER NEWS The annual June Consort Day of Phila­delphia Recorder Chapter newsletter editors and publicity officers should send materials for publication to: the (PA) AR, [email protected],7770 South High St., Centennial, CO 80122-3122. Society filled the room with 40 partici- Also send short articles about specific activities that have increased chapter membership or pants, most of them players .The music recognition, or just the enjoyment your members get out of being part of your chapter. Digital photos should be at least 3”x4”x300dpi TIF or unedited JPG files. Digital videos for of 10 PRS consorts each was bracketed the AR YouTube channel are also accepted. Please send news, photos or video enquiries to the by tutti selections led by music director [email protected], AR address above, and to the following: ARS Office, Rainer Beckmann (conducting in photo, 10000 Watson Rd., Ste. 1L7, Saint Louis, MO 63126; and to Bonnie Kelly, Chair, Chapters, Consorts & Recorder Orchestras, left) . Special guests in attendance were [email protected], 45 Shawsheen Rd. #16, Bedford, MA 01730. Beckmann’s parents visiting from

38 Winter 2014 American Recorder Germany . Instrumentation featured it . A commemo- S’o to gB, and also included two guitars rative jacket for and a symphonia, a modern replica of the music its predecessor, the hurdy-gurdy . had also been PRS also held a “Snow Day in commis- July” meeting—somewhat out of sea- sioned son, but replacing its meeting from (see rose artwork) . February that had been snowed out . Its four pages Joan Kimball, co-director of are shown at Piffaro: The Renaissance Band, led www.philadelphiarecordersociety.org . the October 11 annual PRS workshop, Also check there to see when the piece attended by 29 players from Pennsyl­ is available through retail . vania, New Jersey and Delaware . She The British Columbia Recorder took three popular and much-adapted Society sponsored a fall workshop with Flemish/French melodies to show Kamala Bain (formerly of the Dutch how they have been set in a variety of group, The Royal Wind Music) in fashions by different composers: for Van­couver .The site was new for work- Tandernacken, Tyling, Obrecht, Alamire shops, St . Mark’s Church in Kitsilano; and Senfl; Mille regretz, Susato, Josquin, it proved to offer fantastic acoustics Gombert and Morales; L’homme armé, (especially for Renaissance works by Robert Morton, Jean Japart, Josquin, Praetorius, Victoria and Gabrieli) . Dufay and . Two standouts were a very appeal- The group recently honored the ing recorder orchestra arrangement of memory of Dody Magaziner, long- Midsummer Morris by Alyson Lewin, time PRS member who died in 2013 . and a challenging work by Paul Leen­ In collaboration with the Woodland houts, Ixi-Mixi-Dixi (hear it at www. Consort in Ellison Bay, WI, friends youtube.com/watch?v=sQ0ibEzE5IU commissioned a recorder quintet and elsewhere online) . Bain, a fascinat- (SATTB) from one of her favorite ing teacher, was able to draw out good composers, Alyson Lewin . In July performances from all skill levels by The Wild White Rose was published; at way of her very clear direction as well their summer gathering in Wisconsin, as her friendly, unintimidating yet the Woodland Consort performed firm way .

Bergamasca Spring Concert Bergamasca, a Vancouver (BC)-based recorder sextet (back row, l to r: Tony Grif­fiths, Anthony Morgan, John Parker; front row: Mareike Loptson, Angelika Hackett, Leslie DeConinck), performed their spring program “O Lusty May!” on two Sundays in May . The first was at the Hastings Mill Museum—a heritage building, part of an old sawmill, said to be the oldest in Vancouver . It survived the great fire of 1886 in

www.AmericanRecorder.org Winter 2014 39 the early settlement of Gas­town, and Also fitting the theme were In its first-ever departure into the was towed on a barge to its present Orlando Lassus’s flea song Bestia world of tango, Bergamasca played oceanfront location .The concert was Curvafia, Ludwig Senfl’s lovers’ Astor Piazzola’s Adios Nonino, a rich advertised by the museum as a “drop- story Die Brunnlein die da Fliessen, arrangement for six recorders by Boyd in” occasion at which visitors could and Anthony Holborne’s dances Osgood (AATTBgB) . In constructing look at displays and listen to the music Fruit of Love, The Faerie Round programs, the group has found that at the same time . It was very informal and The Night Watch . mixing genres works well; the Piazzola and visitors could ask questions about Among the group’s other offer- was a sparkling gem in that regard . the music and the instruments as the ings was music of the Spanish Renais­ Consider advertising in program proceeded . sance master Francisco Guerrero; their The second concert location, at favorite was Maria Magdalena et Altera Trinity Community Lutheran Church, Maria (AATTBB), a long, gorgeous Point Roberts, WA, has become an polyphonic tapestry of sound, practi- For current rates and specifications, see annual venue . An isolated community, cally cadence-free . www.americanrecorder.org/pubs/adver.htm. Please inquire about discounts on multiple- with its tiny church boasting fine The only Baroque piece was issue contracts or other special requests. Advertising subject to acceptance by acoustics for recorders, Point Roberts is a chaconne from Henry Purcell’s magazine. Reservation Deadlines: a cartographic anomaly: a small penin- opera Dioclesian, in an arrangement January 1 (Spring), April 1 (Summer), sula is attached to the Canadian main- (AATTBB) by Phil Neuman . July 1 (Fall), October 1 (Winter). STATEMENT OF OWNERSHIP, For more information, contact the ARS office, land that dips into the ocean below the MANAGEMENT AND CIRCULATION 10000 Watson Rd., Ste. 1L7, Saint Louis, MO 49th parallel . One of the local denizens American Recorder magazine .Publication 0003-0724 .10/1/2014 . 63126; 800-491-9588 toll free; 314-966-4082 Quarterly . 4 issues . $36 per year . Association and Publisher phone; 866-773-1538 fax; describes life there as like living in address: Kathy Sherrick, American Recorder Society, 10000 [email protected] Brigadoon, a hidden enclave that only Watson Rd, Ste . 1L7, St . Louis, MO 63126; 314-966-4082; comes to life for special occasions, such Editor: Gail Nickless, 7770 South High St ,. Centennial, CO 80122; Owner: American Recorder Society, 10000 Watson Rd, Classified rate for American Recorder: 60¢ per Ste . 1L7, St . Louis, MO 63126 . No bond holders, mortgagees, as a whale washing up on the beach or or other security holders . Purpose, function, and nonprofit status word, 10-word minimum. “FOR SALE” and a Vancouver recorder consort drifting of American Recorder Society has not changed in preceding “WANTED” may be included in the copy 12 months . Circulation Fall 2014: (Average number of copies each without counting. Zip code is one word; in to play at the church . issue in preceding 12 months/Actual number of copies of single issue phone, e-mail or web page is two. Payment The program had a predominantly published nearest to filing date): a) Net press run (2263/2250); must accompany copy. Deadlines are b) Paid and/or requested circulation: Outside county mail sub- one month before issue date. Send copy spring theme, starting with the lively scriptions (1799/1836) 2) In-county mail subscriptions (0/0) with payment to: ARS, 10000 Watson Rd., 3) Sales through dealers, carriers, street vendors, counter sales Ste. 1L7, Saint Louis, MO 63126. Scottish Renaissance-era song, O Lusty and other non-USPS (0/0) 4) Other classes mailed through May, and ending with the masque USPS (142/148); c) Total paid and/or requested circulation (1941/1984); d) Free distribution by mail (samples, compli- Advertiser Index dance, The Maypole . Other vernal mentary and other free: (1) Outside-county USPS rate (0/0) 2) In-county USPS rate (0/0) 3) Other classes mailed through pieces were ’s Spring USPS (99/107) 4) Free distribution outside the mail (8/33); AMERICAN ORFF-SCHULWERK ASSN...... 10 returns and ’s Now is e) Total free distribution (107/140); f) Total distribution AMERICAN RECORDER SOCIETY . . . . 1, 5, 22, 31, 32, 40 (2048/2124); g) Copies not distributed (215/126); h) Total AMHERST EARLY MUSIC WORKSHOP...... 6 the Month of Maying and Arise Awake! (2263/2250); j) Percent paid and/or requested circulation (94 79%/93. 41). Next part is new Electronic Copy Circulation: BEATIN’ PATH PUBLICATIONS...... 3 (all 16th-century) . Humble singing a) Paid electronic copies (29/74); b) Total paid print copies+ STEPHAN BLEZINGER RECORDER WORKSHOP...... 25 Paid electronic copies (1941/1984); c) Total print distribution + DIE BLOCKFLÖTE RECORDER CENTRE...... 3 was added to certain lines in Lusty Paid electronic copies (2077/2198); d) Percent paid (both print May and Maying . & electronic copies) (93 45%/90. 26%). . JEAN-LUC BOUDREAU, RECORDER MAKER. . . . . 34, IBC American Recorder (ISSN: 0003-0724), 10000 Watson Rd., Ste. 1L7, Saint Louis, MO 63126, DIVINE ART RECORDINGS...... 26 is published quarterly for its members by the American Recorder Society, Inc. $36 of the annual $45 EARLY MUSIC AMERICA...... 30 U.S. membership dues in the ARS is for a subscription to American Recorder. Articles, reviews and HONEYSUCKLE MUSIC ...... 16 letters to the editor reflect the viewpoint of their individual authors. Their appearance in this magazine KELISCHEK WORKSHOP...... 5, 36, 39 does not imply official endorsement by the ARS. LISETTE KIELSON, RECORDER PLAYER ...... 28 Editorial Deadlines: December 15 (Spring), March 15 (Summer), June 15 (Fall), and BILL LAZAR’S EARLY MUSIC...... 28 September 15 (Winter). Submission of articles and photographs is welcomed. Articles may be sent KEITH E. LORAINE EARLY DOUBLE REED SERVICE. . . . 23 as an attachment (.doc or .rtf preferred) or text in an e-mail message. They should be for the exclusive LOST IN TIME PRESS...... 34 consideration of AR, unless otherwise noted. Photos may be sent as prints, or unedited JPG or 300dpi TIF files (minimum 3”x4”). Advertisements may be sent in PDF or TIF format, with fonts embedded. LUTE SOCIETY ...... 30 MOECK VERLAG...... IFC Editorial office: Gail Nickless, Editor, [email protected], 7770 South High St., MOLLENHAUER RECORDERS...... OBC Centennial, CO 80122-3122. Books and Music for review: Sue Groskreutz, 1949 West Court St., PORT TOWNSEND EARLY MUSIC WORKSHOP...... 27 Kankakee, IL 60901. Recordings for review: Tom Bickley, 1811 Stuart St., Berkeley, CA 94703. Cutting Edge: Editorial office. Chapter newsletters, other reports: Editorial office. The ARS reserves PRESCOTT WORKSHOP...... 9 the right to publish any submitted magazine content on the ARS web site. By submitting material to THE RECORDER SHOP...... 27 be published in a printed issue of AR, American Recorder’s editors and authors grant the America RHYTHM BAND/AULOS...... IBC Recorder Society permission to use their material in this additional manner. Postmaster: Send address VERY GOOD RECORDER TRANSCR...... 8, 39 changes to ARS, 10000 Watson Rd., Ste. 1L7, Saint Louis, MO 63126. Periodicals postage paid at St. Louis, MO, and at an additional mailing office. VON HUENE WORKSHOP, INC...... 21

40 Winter 2014 American Recorder