March 2009 Published by the American Recorder Society, Vol. L, No. 2 • www.americanrecorder.org

The Charlton Susato: Danserye Mrs. McGillivrays Method Various and Welcome Sopranino Quartet Tutor through Bass Item LPM0101A Item HATT001 Recorders Danserye begins with a A bass recorder tutor with Item JRMM001 mysterious group of dances, a Scottish flavor! This book This is one of mostly called bergerettes and is intended for recorder the most reprises, all of which appear players who have a comprehensive under the heading of "basse reasonable knowledge of adult recorder danse". This is a complete and who tutors available. edition of this classic collection would like to become Contents: Fingering and trill charts, 63 and is the first to come with four 46 page score useful Bass recorder players. Once you have basic technique exercises, 69 books and separate commentary. $37.25 tried the first few pages of this method, you are articulation & coordination studies, 39 likely to find this much easier than you realized. scale & arpeggio studies, 16 studies This tutor combines a comfortably graded for bass, , 16 BBBEEESSSTTT learning sequence with plenty of interesting duos, Renaissance & Baroque tunes and pieces. Contents: Basic bass fingering ornamentation & MORE! 180 pages charts and 84 pieces, exercises and traditional Spiral bound music book. $32.50 English, Scottish and other beautiful classics, in SSSEEELLLLLLEEERRRSSS a 45 page spiral bound book. $24.95 Van Eyck: Der Fluyten Monteclaire: Airs de The Consort Lust-Hof Danse Collection For Recorder For Soprano or Alto Volume 1 Item DOL0125 Recorder For Recorder Few works in the recorder Item PAR0103 Quartet repertoire have received as Monteclair was a Item DOL0101 much attention from of , serenades, This must be performers, students and instrumental concerts, a the ultimate scholars as Jacob Van Eycks ballet and a well received anthology of Der Fluyten Lust-Hof.Whyso . He is best known consort music. much celebrity for an obscure today for his duets, This collection collection by a composer whose total output does and the Deuxieme Concert for flute and bass. features 39 widely varied pieces of not quite fill 200 pages? Recorder players are These pieces all have sections of dance tunes, music spanning the 15th to 17th accustomed to mining for gems, and Van Eycks which are published here for the first time in a centuries. Included are pieces by des collection gleams brightly because it brings modern edition. In the Petite Method Monteclair Pres, Senfl, Janequin, Byrd, Susato, together some of the finest melodic material of the writes that "Nothing improves the understanding Gibbons, Dowland, Lully and many 16th and early 17th centuries in skillful settings that of the different tempos and metres than dance others. 45 page score. $13.00 are musically and technically challenging. (ARS, tunes." All of the Airs de Danse are printed in this January 2004) $32.75 collection, to avoid having to choose between them. 41 page score. $19.95

Barsanti: The Recorder Book Compete Item WOLLITZ Original Back after over a decade of absence and Recorder newly updated, the Recorder Book is an instructive guide for everyone who plays the For Alto and recorder, be it beginner, intermediate or Basso experienced, and wants to play more Continuo beautifully and skillfully. From selecting a Item recorder to making it sing, from practicing DOL0126 effectively to playing ensemble and 6 sonatas by enriching your repertoire, here is everything Francesco Barsanti. Includes you need. To use this book is to have a uniquely gifted teacher at Traditional Irish Music commentary and performance notes. your side, encouraging you, providing you with specific help, and For Alto Recorder 52 page gem. delighting you with their lively knowledge of the art of making Item PAR0101 $24.50 music. 259 pages. $29.95 A very nice collection of 22 pieces in a 16 page spiral bound score. $12.00 Playford Dances For Recorder Quartet From your friends at Item LPM0102 These arrangements of dances from Playford’s The Dancing Master, which appeared in 18 different editions, 0DJQDPXVLF'LVWULEXWRUV,QF are intended primarily for playing to dancers. Those of us ORDER TOLL FREE: (888) 665-2721 who have been involved in dance events will be familiar TEL: (860) 364-5431 FAX: (860) 364-5168 with the experience of having to cobble together versions of these tunes for the band at short notice, and it is hoped Email: [email protected] that this volume should reduce the consumption of midnight oil. $13.25 Shop Online at magnamusic.com Don’t forget to mention you’re an ARS member and get a surprise! Editor’s Note ______Volume L, Number 2 March 2009 ur 2009 celebration continues, with an Features Oearly-bird discount deadline of May 1 Suite Thoughts of Sitka ...... 9 to register for the ARS’s 70th birthday Judith Linsenberg recounts how her life changed party—the ARS Festival and Conference. while being the Sitka recorder resident This year you’ll continue to see AR covers highlighting 2009 as both Volume Summer Workshop Summer-y ...... 12 50 of AR and as the ARS’s 70th anniver- The annual roundup of summer workshops, 8 sary year. These specially selected covers including some earlier and some later are the creative output of the Advanced Glenna Lang Illustration class taught by Departments at the School of the Museum of Fine Arts in , MA, at which students come Advertiser Index and Classified ...... 40 from all over the world to study. AR@50: Avoiding Aches and Pains ...... 23 The Education Department in this Dr. Léonie Jenkins gives advice for those issue may bear resemblance to “Are you contemplating a workshop experience 9 Smarter than a Fifth-grader?”—but the questions are a challenge for recorder Chapters & Consorts ...... 32 players of any vintage. Take Bart Span- Education ...... 24 hove’s quiz (page 24) and see how you do! Bart Spanhove tests our musical knowledge You may want to use his questions as well as Music Reviews ...... 37 the AR@50 piece in this issue (page 23) —advice from the late Léonie Jenkins— On the Cutting Edge ...... 27 to prepare yourself for your workshop or Tim Broege puts the recorder into the perspective of the larger music world and the festival experience. 12 If it’s March, then it’s likely that you President’s Message ...... 3 expect the bulk of this issue to be devoted Lisette Kielson on how to feed the passion to the annual roundup of upcoming Q&A ...... 28 recorder workshops (page 12). Carolyn Peskin describes Renaissance fingering Whether we make your acquaintance at the Boston Festival, we meet Response ...... 34 you in St. Louis for the ARS Festival, or we More on music-reading glasses, earplugs and Oskar cross paths at one of the many workshops, Tidings ...... 4 you’ll agree that this promises to be a Mario Duschenes and John Updike die; Early 32 memorable summer for recorder players! Music America contest news; Joe Lewnard wins Gail Nickless Piffaro contest; Matthias Maute teams up with Lincoln Center musicians

GAIL NICKLESS, EDITOR

CONTRIBUTING EDITORS ON THE COVER: TOM BICKLEY, COMPACT DISC REVIEWS • FRANCES BLAKER, BEGINNERS & TECHNIQUE TIMOTHY BROEGE, 20TH/21ST-CENTURY PERFORMANCE Illustration by CAROLYN PESKIN, Q & A • CONSTANCE M. PRIMUS, MUSIC REVIEWS Wonjoung Chang ADVISORY BOARD ©2009 MARTHA BIXLER • VALERIE HORST • DAVID LASOCKI • BOB MARVIN THOMAS PRESCOTT • CATHERINE TUROCY• KENNETH WOLLITZ

WWW.AMERICANRECORDER.ORG GLENNA LANG, COPYRIGHT©2009 AMERICAN RECORDER SOCIETY, INC. DESIGN CONSULTANT ARS Chapters

ALABAMA GEORGIA Long Island: Alabama Recorder Assoc.: Jennifer Atlanta: Barbara Zotz (631-421-0039) Garthwaite (256-586-9003) Mickey Gillmor (404-872-3210) : Gene Murrow Birmingham: (646-342-8145) Janice Williams (205-870-7443) Rochester: Liz Seely (585-473-1463) Hawaii: Irene Sakimoto Rockland: Jacqueline Mirando AMERICAN ARIZONA (808-734-5909) (845-624-2150) Desert Pipes (Phoenix): Big Island: Roger Baldwin Westchester: RECORDER Linda Rising (602-997-6464) (808-935-2306) Erica Babad (914-769-5236) Arizona Central Highlands SOCIETY (Prescott): Georgeanne Hanna ILLINOIS NORTH CAROLINA inc. (928-775-5856) Chicago: Mark Dawson Carolina Mountains: Tucson: (773-334-6376) Carol Markey (828-884-4304) Scott Mason (520-721-0846) Chicago-West Suburban: Triangle: Mary McKinney Honorary President Laura Sanborn–Kuhlman (919-489-2292) ARKANSAS (630-462-5427) Erich Katz (1900-1973) Aeolus Konsort: OHIO Honorary Vice President LOUISIANA Greater Cleveland: Don Wold (501-666-2787) Edith Yerger (440-826-0716) Winifred Jaeger Bella Vista: Barbara McCoy Baton Rouge: (479-855-6477) Cody Sibley (225-505-0633) & Toledo: Marilyn Perlmutter John Waite (225-925-0502) (419-531-6259) Statement of Purpose CALIFORNIA New Orleans: OREGON The mission of the American Recorder Society is Central Coast: Margery Seid Victoria Blanchard (504-861-4289) (805-474-8538) & David Kemp (504-897-6162) Eugene: Lynne Coates to promote the recorder and its music by East Bay: Susan Jaffe (541-345-5235) developing resources and standards to help (510-482-4993) MARYLAND Oregon Coast: Corlu Collier people of all ages and ability levels to play and Inland Riverside: Greg Taber Northern Maryland: (541-265-5910) Richard Spittel (410-242-3395) Portland: Zoë Tokar (971-325-1060) study the recorder, presenting the instrument to (951-683-8744) Monterey Bay: LouAnn Hofman new constituencies, encouraging increased career MASSACHUSETTS PENNSYLVANIA (831-439-0809) Bloomsburg Early Music Ens.: opportunities for professional recorder Boston: Laura Conrad North Coast: Kathleen (617-661-8097) Susan Brook (570-784-8363) performers and teachers, and enabling and Kinkela-Love (707-822-8835) Recorders/Early Music Philadelphia: Orange County: Lois Sheppard Vincent Hurtubise (215-438-6409) supporting recorder playing as a shared social (562-431-0454) & Metro-West Boston: Sheila experience. Besides this journal, ARS publishes Beardslee (978-264-0584) Pittsburgh: Helen Thornton Rayma Zack (949-624-3448) Worcester Hills: Doug Bittner (412-781-6321) a newsletter, a personal study program, a Redding: Kay Hettich (508-852-6877) directory, and special musical editions. Society (530-241-8107) RHODE ISLAND Sacramento: Steve Sherman members gather and play together at chapter MICHIGAN Rhode Island: (916-489-2771) & Ann Arbor: David Bojar (401-944-3395) meetings, weekend and summer workshops, and Robert Foster (916-391-7520) Annabel Griffiths (734-213-3172) many ARS-sponsored events throughout San Diego County: Harvey TENNESSEE Kalamazoo: Charles Vreeland Greater Knoxville: the year. In 2009, the Society enters its Winokur (619-334-1993) (269-342-8069) San Francisco: Dana Vinicoff Metropolitan Detroit: Claudia Ann Stierli (865-637-6179) eighth decade of service to its constituents. (415-908-3258) Novitzsky (248-548-5668) Nashville: Sonoma County: Northwinds Recorder Society: Janet Epstein (615-297-2546) Board of Directors Dale Jewell (707-874-9524) Janet Smith (231-347-1056) South Bay: TEXAS Lisette Kielson, President Western Michigan: Jocelyn Shaw Austin: Marianne Weiss Kim Liz Brownell (408-358-0878) ( 231-744-8248) Laura Sanborn–Kuhlman, Southern California: (512-795-9869) Dallas: Jack Waller Jerry Cotts (310-453-6004) & MINNESOTA Vice President; Fundraising Chair (972-669-1209) Marilyn Perlmutter, Secretary; Juanita Davis (310-390-2378) Twin Cities: Barbara Aslakson (952-545-3178) Rio Grande: Sylvia Burke Scholarship Chair COLORADO (575-522-1742) Ann Stickney, Treasurer; Boulder: Mike Emptage MISSOURI (970-667-3929) St. Louis: UTAH Finance Chair; Membership Co-Chair Colorado Springs: Janet Howbert Kathy Sherrick (314-822-2594) Utah Recorder Society Matthew Ross, Assistant Secretary; (719-632-6465) (Salt Lake): Mary Johnson Membership Co-Chair Denver: Dick Munz NEVADA (801-272-9015) Sierra Early Music Society: Bonnie Kelly, Assistant Treasurer; (303-286-7909) VERMONT Fort Collins: Roselyn Dailey Kay Judson (775-322-3990) Chapters & Consort Chair; Special Monadnock: (970-282-1097) Kristine Schramel (413-648-9916) Events/Professional Outreach Co-Chair NEW HAMPSHIRE Early Music Society of Monadnock: & Lynn Herzog (802-254-1223) Letitia Berlin, Special Events/ Western CO: Bev Jackson Kristine Schramel (413-648-9916) Professional Outreach Co-Chair (970-257-1692) VIRGINIA & Lynn Herzog (802-254-1223) Northern Virginia: Mark Davenport, Education Co-Chair CONNECTICUT NEW JERSEY Edward Friedler (703-425-1324) Susan Richter, Marie–Louise Smith Connecticut: Elise Jaeger Bergen County: Shenandoah (Charlottesville): (203-792-5606) Gary Porter (434-284-2995) Leslie Timmons, Education Co-Chair Eastern Connecticut: Mary Comins (201-489-5695) Mary Halverson Waldo, Publications Chair Park: Donna Messer Tidewater (Williamsburg): Joyce Goldberg (860-442-8490) (732-828-7421) Vicki H. Hall (757-565-2773) DISTRICT OF COLUMBIA Navesink: Lori Goldschmidt Nancy Weissman, Counsel WASHINGTON Washington: Art Jacobson (732-922-2750) Moss Bay: (301-983-1310) Princeton: Ralph Lusher (425-275-6777) Staff Louise Witonsky (609-924-2752) DELAWARE Seattle: Carolyn Wallace Kathy Sherrick, Administrative Director Brandywine: Roger Matsumoto NEW MEXICO (206-782-6898) Albuquerque: Bryan Bingham 1129 Ruth Drive (302-731-1430) WISCONSIN St. Louis, MO 63122-1019 U.S. (505-299-0052) Milwaukee: Carole Goodfellow FLORIDA Las Vegas (Flat & Baroque in 800-491-9588 toll free Ft. Myers Recorder & Early Las Vegas): Tom Curtis (262-763-8992) Music Ens.: Sue Groskreutz Southern Wisconsin: 314-966-4082 phone (505-454-4232) Marilyn Oberst (608-836-0269) 314-966-4649 fax (239-247-3002) Rio Grande: Sylvia Burke Gainesville: Peter Bushnell [email protected] (575-522-1742) CANADA (352-376-4390) Santa Fe: Montréal: Mary McCutcheon www.AmericanRecorder.org Largo/St. Petersburg: Jane Thomson (505-986-0753) (514-271-6650) Elizabeth Snedeker (727-596-7813) NEW YORK Toronto: In accordance with the Internal Revenue Service Miami: Zulema Garaffo Sharon Geens (416-699-0517) Taxpayer Bill of Rights 2, passed by the United States (305-374-1879) Buffalo: Congress in 1996, the American Recorder Society makes Palm Beach: Beverly Lomer Jean Ericson (716-839-3942) Please contact the ARS office (954-592-2852) Hudson Mohawk: freely available through its office financial and Darleen Koreman (518-482-6023) to update chapter listings. incorporation documents complying with that regulation. Sarasota: Margaret Boehm (941-761-1318) 6 March 2009 American Recorder President’s Message ______Greetings from Lisette Kielson, ARS President [email protected]

n July 2005, before I was on the heard about it, but it is here that I IBoard, I attended the very first I now succumb to would like to formally invite you to ARS Festival, that year held at Regis a more sophisticated our second ARS Festival and University in Denver, CO. I decided Conference, held July 30-August 2 to go at the last minute (no early hunger that involves at the University of Missouri— registration discount for me!). I more than just my St. Louis. (For details, go to thought: take advantage of this great teaching and performing www.AmericanRecorder.org.) opportunity to change roles—partici- The ARS Festival and pate as a student instead of as faculty. —an appetite that Conference will be a very special What a wonderful experience it was— now includes what event honoring all aspects of the to observe, join sessions, and absorb other professionals recorder, an opportunity to come all the warmth, humor and knowledge together to share ideas and play our that was presented to me. I recon- are saying about beloved instrument, a chance to hear nected with some and met many who the recorder .... live performances from the best-of- will remain good friends and respected the-best, and a recognition of those colleagues throughout my life. saying about the recorder, their who have been an integral part of the As I recall the 2005 ARS Festival, thoughts on teaching, and their ARS and of those who will carry it I remember my introduction to the approaches to ensemble direction and forward into the future. ARS by one of my first teachers, performing. This is not an annual event. It has Roberta Sweet. My passion lay in This President’s Message been years in the making. Whether making music, and she fed that provides me with a chance not only to presenter, performer, student of every passion lovingly and consistently— reflect, but also to advertise. This is the age and level, exhibitor, vendor, one quality, I believe, necessary for March issue—the issue traditionally educator, auditor, amateur, remarkable teaching. As a professional listing all the summer festivals and professional—we are in this together! musician (and lifelong student of workshops. I mentioned it in the last All are welcome! (And don’t forget music and life!), I now succumb to a issue, and you have certainly read and about the early registration discount!) more sophisticated hunger that involves more than just my teaching and performing—an appetite that now includes what other professionals are SWEETHEART FLUTE CO.

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www.AmericanRecorder.org March 2009 7 Tidings ______Mario Duschenes and John Updike die, ______Joe Lewnard wins young recorder player contest Passing Notes method, he became a member of the made to Phare - Enfants et Familles, Carl Orff Canada advisory board in www.phare-lighthouse.com, and 1974. His efforts in music education Maison Emmanuel, www.maison were lauded by Jamie Portman in The emmanuel.org. Flutist, recorderist, conductor and (Montréal) Gazette, writing in 1978 Pulitzer Prize-winning novelist teacher Mario Duschenes (1923- that Duschenes “is probably doing John Updike (1932-2009) also died 2009) died peacefully in Montreal, more for the image of young people’s in January, of lung cancer at age 76. QC, Canada, on January 31. concerts than anyone else in Canada.” Among his many literary efforts that Born in Hamburg, Germany, he In 1953 he was co-founder of the include the Rabbit quartet, he wrote for escaped into Switzerland before World CAMMAC Music Centre, where he The New Yorker, for which he contrib- War II. His early musical studies taught for many years. Duschenes also uted a 1988 short story entitled “The focused on recorder, solfège and . taught at McGill University (1954- Man Who Became a Soprano.” This He then turned to the flute, first 70) and at the University of Montréal was later reprinted in The Afterlife and studying with his father and brothers, (1970-73). He was president in1983- Other Stories (Knopf: 1994 & Fawcett then in 1943 entering the Geneva 85 of Jeunesses musicales du Canada. Crest, New York: 1995)—and the title Conservatory. In 1947, he completed Duschenes was recognized as a does refer to a . In his training and won an award at the leading conductor, and stood before that story, he led the reader through 1947 International Competition for every major orchestra in Canada. various personality conflicts in a Musical Performers in Geneva. Among numerous awards, he received weekly recorder group that met After touring Europe as soloist two honorary doctorates (from Con- somewhere in the East. In other with the Ars Antiqua Ensemble, he cordia University, Montréal, and writings, Updike used emigrated to Canada in 1948. Memorial University, St. John’s, New- to imply a level of sophistication in his A new recorder world—in partic- foundland) and in 1985 was made an characters, such as Terry Gallagher ular Montreal’s —was enlivened in Officer of the Order of Canada. playing Greensleeves on recorder in the 1950s by the youthful recorderist Duschenes wrote a number of his fifth novel, Couples (1968). and flutist from Europe, who taught, widely-distributed works, published Updike was himself knowledge- published a method book (used by by BMI Canada and later by able about music, reviewing classical thousands around the world and still Berandol—notably his Method for the music concerts in Castle Hill, MA, available), and arranged for recorder Recorder I (1957) and II (1962) for from 1961-65. He had moved to ensembles. He made over 30 record- soprano or alto (in French, Méthode de Ipswich near Boston after he left his ings, including several of flute and flûte à bec I, 1962, and II, 1968); School job at The New Yorker, feeling after 20 recorder duets with his friend, well- Recorder Method (1957) for soprano months that the city was distracting known flutist Jean-Pierre Rampal. and alto together (in French, La Flûte him and sometimes stifling his creativ- With his wife Ellyn, who was a à bec à l’école, 1973); and Studies in ity (though he kept his ties to The New researcher and child psychologist, he Recorder Playing (1960). He edited or Yorker and continued to send them brought musicians into schools and wrote easy duos and trios, studies for pieces). He and his family entered conducted youth concerts. An expert alto recorder, and arrangements of enthusiastically into small-town life: in the Orff-Schulwerk teaching Renaissance and Baroque works, of Updike wrote and performed in an Bach, and of Leopold Mozart. historical pageant, and he and his wife The He is survived by his brother were members of a recorder group. Recorder Magazine Rolf, five children and 12 grandchil- Updike commented in 2003, we invite you to visit the site dren; his wife of 42 years, Ellyn “The real America seemed to me www.recordermail.demon.co.uk (1929-1994), preceded him in death. ‘out there’... Out there was where I Donations in his memory may be belonged.”

8 March 2009 American Recorder Recent Performances of Note Given as part of St. Bart’s midday with its recorder obbligato played by in New York City midtown concert series, a concert of Larry Zukof, was lovely. Last November, at the Chapel of the more Telemann held very nice playing Chelsea Winds had an interest- General Theological Seminary in from Deborah Booth on December ing experience when we were invited New York City, NY, Chelsea Winds 17. In addition to soprano and alto to play a short program for a United Recorder Ensemble (Lucinda and recorders, Booth played Baroque Nations conference on cooperation Barrie Mosher, Gregory Eaton, flute. I particularly liked her rendition between the UN and the world’s David Hurd, and this author) offered of the Telemann Partita in Minor for religions (December 16). Labouisse an all-Bach program. It started with soprano recorder and continuo, and Hall, where the concert was held, was the Ricercare a3 from the Musical the alto recorder obbligato to the aria full of people, very many in exotic Offering, transposed up a step to “Ein stetes Zagen” from Telemann’s attire. I confess I was dismayed at this D minor; and continued through for Advent, “Lauter Wonne.” sight, because I feared our program of 10 contrapuncti from Art of the Fugue. At the end of the liturgical season contrapuncti from Bach’s Art of the of Christmas, the ensemble at the Fugue would make no sense to the If there were ever any Holy Trinity Lutheran Church many non-Westerners brought up in Vespers series presented J.S. Bach’s other music cultures. doubt, Maute made it Cantata No. 152, “Tritt auf die I need not have feared. The very clear that the Glaubensbahn,” for the first Sunday music was enthusiastically received. recorder could hold its after Christmas (December 28). The Bach’s music really is universal. own in the company of aria “Stein, der über alle Schätze,” Anita Randolfi “modern” instruments.

The final days of 2008 held some fine recorder playing. Recorderist Matthias Maute joined 16 members of the prestigious Chamber Music Society of Lincoln Center in a program titled “Baroque Collection: the Beautiful and the Bizarre.” The performance included sonatas, con- certos, programmatic pieces, and arias by Pachelbel, Muffat, Telemann, Biber, Vivaldi and Handel. Maute contributed his graceful and fluid playing to the Telemann in A Minor for alto recorder, two and basso continuo, and also to the Vivaldi Concerto in G Minor for recorder, , , and continuo (R107.) Mary Halverson Waldo was a Suzuki teacher trainer for the The concert was presented in the January Festival Suzuki in Lima, Perú. Pictured are the large Rose Theater at the Lincoln Huancavelicanos, who attended the festival from the city of Center Center on December 19 Huancavelica in the most poverty-stricken region of Perú. and 21. If there were ever any doubt, Padre William Lopez (center front) is the school master and Maute made it very clear that the recorder teacher (being an excellent recorder player him- recorder could hold its own in the self). They were extremely grateful to Corinne Newbegin company of “modern” instruments, (OR) and Jane Harper (MN), who donated SATB recorders even in a large concert space. in excellent condition for two vibrant Suzuki programs in Colombia and Perú!

www.AmericanRecorder.org March 2009 9 Awards and Honors music charts (see the CD review in the (individual or organizational) of EMA Music educator and recorderist September 2007 AR, and an interview who reside in the U.S. or Canada. Deborah Greenblatt and David with Bosgraaf in the May 2008 AR; Applications are due April 30. Seay, of “The Old Schoolhouse” in see also www.erikbosgraaf.com). Finalists will be selected by June 30, Avoca, NE, were featured in the Iranian-born Esfahani, who has and will receive hour-long coaching November 2008 International Musi- appeared in ensemble performances sessions with an early music artist cian, the official journal of the Ameri- reviewed in AR, was a BBT Fellowship and present live 20- to 30-minute can Federation of Musicians of the winner. He makes his Wigmore Hall performances in New York City, NY, U.S. and Canada. They have played début in as soloist with The in October. and sung folk music together for more English Concert this month. For application requirements, visit than 30 years. The duo has published Two BBT awards of £20,000 each www.earlymusic.org . books for a variety of instruments from and six fellowships of £10,000 each EMA has also announced two ’ to . Among the latest were given by the Trust’s artistic com- early music ensembles receiving its are Tunes for Two and mittee—Franco Buitoni, Adam Gate- 2008-09 Collegium Musicum Singing Cowboy Fiddling Tunes for Two. house, Martijn Sanders and Mitsuko Grant: Sacabuche!, at Indiana Visit www.greenblattandseay.com Uchida. See www.bbtrust.com for University’s Early Music Institute, for information. more on the foundation and its policies directed by Linda Pearse; and the The 2009 Borletti-Buitoni Trust plus news, video and audio of BBT UNT Baroque Orchestra and (BBT) Awards acknowledge that musicians (now 45 individuals and Collegium Singers, from the some instruments present a challenge 14 ensembles from 22 countries). University of North Texas under the for talented and ambitious young direction of Lyle Nordstrom. classical musicians striving for a solo Early Music America News Sacabuche! performs vocal music career. Recorder player Eric Bosgraaf EMA, with support from a private with and organ. (below) and harpsichordist Mahan donor, will sponsor its third Medieval/ UNT has one of the largest and Esfahani are among those selected to Renaissance Performance Compe- most active collegium programs in receive BBT financial assistance as tition in 2009. The winner receives a North America. The most prestigious well as advice in such areas as public cash prize (the Unicorn Prize) and is ensembles there are the 30-piece UNT relations, auditions and finding agents. guaranteed three concert performances Baroque Orchestra and 26-voice sponsored by EMA and presenters in Collegium Singers, whose members Pittsburgh, PA, Milwaukee, WI, and regularly perform at the Boston Early Seattle, WA. The contest’s goal is Music Festival (BEMF). to encourage the development of Nordstrom, the director of these emerging artists in the performance ensembles, was co-director with Paul of Medieval and . O’Dette of The Musicians of Swanne Applicants must be ensembles Alley, and was the founder and artistic with at least two performers, of age 39 director of the Atlanta (GA) Baroque or younger, who have not performed Orchestra. He received EMA’s together for more than five years Thomas Binkley Award in 2000 for (“emerging artists”). Repertoire is his work with collegiate ensembles at limited to the period of roughly 800- Oakland University and Clayton BBT Award winner Bosgraaf, of 1550 A.D., performed on voice(s) State College. The Netherlands, is hailed as one of and/or period instrument(s) and in a EMA Collegium Musicum the most gifted and versatile recorder style that is historically informed. Grants provide $1000 toward the cost players of his generation.Current plans The competition is open to members of bringing a college or university include solo performances with the student early music ensemble to Dallas (TX) Symphony Orchestra and perform in a BEMF fringe concert the Dutch Radio Chamber Philhar- (odd-numbered years) or at the Berke- monic. His début recording, a three- ley (CA) Festival (even-numbered CD set of music by Jacob van Eyck, years). The two winners will perform was No. 1 on the 2007 Dutch classical during BEMF, June 7-14.

10 March 2009 American Recorder The Power of Love JUNE 6-14, 2009 featuring ’s sublime final opera

June 6, 7, 9, 10, 12, and 14, 2009 June 19, 20, 21, 22, 2009 Stanford Calderwood Pavilion at the Mahaiwe Performing Arts Center Boston Center for the Arts in Great Barrington, MA L’incoronazione di Poppea replaces the previously announced operatic centerpiece, Antiochus und Stratonica by Christoph Graupner. Tickets are on sale now at WWW.BEMF.ORG and 617-868-BEMF!

RECORDER EVENTS AT THE 2009 BOSTON EARLY MUSIC FESTIVAL

Paul Leenhouts, Renaissance recorder and Gabe Shuford, & organ Wednesday, June 10 at 11pm

Flanders Recorder Quartet Recorder Masterclass with Paul Leenhouts Sunday, June 14 at 12:30pm Thursday, June 11 at 2pm

Join us for our weeklong extravaganza of early music with concerts by the world’s leading early music soloists and ensembles, including Stile Antico, Trio Hantaï, Ricercar Consort, Pieter Wispelwey, ’cello and Kristian Bezuidenhout, fortepiano, the BEMF Chamber Opera presentation of John Blow’s Venus and Adonis and Marc-Antoine Charpentier’s Actéon.

Visit WWW.BEMF.ORG for a complete schedule of events, registration materials for the world-famous BEMF Exhibition, Fringe Concerts, and Masterclasses, and much more! Joe Lewnard wins 18th-century and contemporary music, Boulder, CO, a student of Linda Piffaro hopes to convey to them the Lunbeck; Bryan Duerfeldt (15) from Piffaro’s Second importance of playing—and also Minneapolis, a student of Mary Competition for understanding the underlying Halverson Waldo; Amy Pikler (16) Young Recorder performance practice issues of— from Chicago, who studies with earlier repertoire. Patrick O’Malley; and Olivia Sohlen Players Joe Lewnard (at right with (16), also from Minneapolis and a Piffaro’s Joan Kimball), an 18-year-old student of Cléa Galhano. By Joan Kimball, www.piffaro.com high school senior from the Chicago area, was chosen as the winner by Piffaro’s second competition for young judges Nina Stern from New York recorder players, ages 12 to18, was City, NY, and Elissa Berardi of held on January 10 at the Settlement Philadelphia. He has played recorder Music School in Philadelphia, PA. for a number of years—studying with Five finalists, chosen on the basis of Aldo Abreu, among others—and has tapes that they submitted in November, attended the virtuoso program at the performed before a small, but enthu- Amherst Early Music Workshop. Also siastic and supportive, audience. a player, he has expressed A smattering of snow and ice kept interest in taking up the cornetto, away some people who otherwise combining his facile fingers with his would have attended. Ironically, . the finalists had no trouble reaching In recent months Lewnard has Philadelphia from distant snow capitals been preparing repertoire for college of the U.S.— Denver, CO, and conservatory auditions, and will Minneapolis, MN, and Chicago, IL! apply to several schools. His selections Unique in this country, as far as for the competition were the unaccom- anyone knows, this competition was panied Ricercata prima by Giovanni established in 2007 to pique the Bassano, and two movements from a interest of young recorder players and suite by Pierre Philidor. to encourage them to investigate the The other four finalists also played repertoire of the 15th century into the with poise and distinction in varied On March 7, Lewnard will early 17th century on recorders as well repertoire (Renaissance to contem- appear again in Philadelphia, paired as other early wind instruments. While porary) that showed their abilities. with the competition’s previous winner, these young players tend to focus on They were: Ariel Branz (age 16) from Alexa Raine-Wright, in a recital. The two young virtuosi (both of whom have won ARS workshop scholarships) will perform a variety of 16th-, 17th- and 18th-century solos and duets, accompanied by harpsichordist Marcia Kravis. In addition, Piffaro members Joan Kimball, Priscilla Early Music America Magazine is the quarterly Smith and Bob Wiemken will join publication for the Early Music Community in them for a set of 16th-century works North America: Professionals, Students, and on Renaissance recorders. Audience members. With two competitions success- Articles on performance practice, trends in the fully completed, Piffaro plans to hold field, recording reviews, and a new book reviews another one in two years, and hopes department. that young recorder players will start to prepare now. We’d love to see more Call 888-722-5288 or email [email protected] young virtuosi coming our way! for a FREE sample issue.

12 March 2009 American Recorder Suite Thoughts of Sitka ast spring I had the honor and learning how to quickly and reliably By Judith Linsenberg Lgood fortune to spend five weeks build a fire in my wood stove. My next at the Sitka Center for Art and proudest accomplishment was learning The author is founder and director of Ecology, on the central Oregon coast, that one should not put wet logs on the Baroque ensemble, Musica Pacifica, as the recorder resident. The recorder the top of the stove to dry. This I whose performances and eight recordings residency is sponsored by the Oregon discovered after setting off the smoke on the Virgin Classics and Dorian labels Coast Recorder Society—a wonderful alarm, bringing the entire Sitka staff have received international acclaim. group of people I had the chance to running to my aid—only to find me, She has performed throughout the U.S. meet and teach, and to make music oblivious, up in the loft. and Europe, including solo appearances at with, while I was there. My It took me a week or so to get the Hollywood Bowl and Lincoln Center; participation was made possible, in adjusted to my new life. I wasn’t used and has been featured with such leading part, by a professional grant from the to being alone—without my dog, far American ensembles as the San Francisco ARS, and also by the kind generosity from civilization—and with expanses Symphony, the San Francisco and Los of some of my loyal, long-term of free time and no actual responsibil- Angeles , Philharmonia Baroque, students. ities. I spent some of that time explor- American Bach Soloists, and others. The project I worked on while at ing the surrounding areas: taking Sitka was an intensive study of Bach’s walks down to the estuary, through Her recording of the Bach organ trios solo string music—primarily the ’cello forested woods, and climbing to the was sponsored in part by an suites and some of the violin partitas— top of Cascade Head. There I was met ARS Professional Grant. The ARS with the aim of preparing my with awe-inspiring views of the Pacific CD Club carries some of her recordings. own arrangements of them for an Ocean, the coastline, the mountains, eventual recording. and the estuary far below. I soon A Fulbright scholar to Austria, she Although I’d been told before I discovered that this was part of the was awarded the Soloist Diploma with went that Sitka was incredibly beautiful total Sitka experience. Highest Honors from the Vienna Academy and a wonderful place to be, I After my first incredible climb to of Music. She is a summa cum laude approached the residency with some the top of Cascade Head, I began to graduate of Princeton University, holds an trepidation: I wasn’t quite able to relish the quiet, peace and time alone early music doctorate from Stanford Uni- imagine it and wondered how I would that Sitka afforded me—something I versity, and has been a visiting professor at survive so many weeks by myself in a never imagined I’d feel, given my the Vienna Conservatory and Indiana remote location, seven miles from the generally extroverted nature. In University’s Early Music Institute. nearest town—and where, I’d heard, addition to reading, writing, and Visit www.musicapacifica.org most cell phones did not work (panic!). meditating, I was inspired to dive into for more information. When I arrived on April 9, I was met with typical Oregon coast weather for that time of the year (and many times of the year): chilly temperatures and rain. And I’d left sunny California for five weeks of this?? I lived in what is called the Tree House—a charming, one-room wooden cabin with a sleeping loft and a wood-burning stove inside— Linsenberg enveloped outside by a couple of giant on the Sitka spruce trees. After many failed deck of attempts over several days, one of my the Tree proudest accomplishments was finally House

www.AmericanRecorder.org March 2009 13 my musical projects with renewed energy and enthusiasm. I had the time not only to practice the Bach suites, but also to really study them in depth—analyzing them, listening to and comparing different recordings, and working on my transcriptions of them. Although it wasn’t part of my original intention, I now have a plan to publish my arrangements of these pieces so they’ll be available for others to perform. (While Frans Brüggen published his arrangement of the first three suites in the 1970s, to my knowledge there is only one other recorder edition currently available, whose approach is quite different from mine.)

areas. Together we created a performance piece that we presented at the Open House at the end of our residencies: I provided music to accompany a performance that took place within her installation. We worked together on using the music to express the various ideas in the installation and performance, and using the performance to express the music in a visual way. Bach’s music can be very evocative, and I chose movements from the Bach suites that suggested the various parts of the narrative she performed: part of a slow prelude I wasn’t, however, living in total isolation while at Sitka. to depict nascent creatures emerging in a forest; a C-major There were artist residents of other media as well: Kim, a bourree while they are coming to life; a C-minor one writer from New York state; John and Robin, a married suggesting turmoil; a fast 16th-note passage representing couple who were ceramicists from Washington state, and flight as they grow wings and fly; and finally a wistful their three daughters; and Claudia, an installation- and sarabande as they gradually die away and disappear. As in performance-artist. We became a community, socializing a ballet, each medium enhanced the other, and the whole when we weren’t working (and sometimes even when we became more than the sum of its parts, illuminating were), going on excursions to see the glorious natural different aspects of each and creating a more profound wonders of the Oregon coast, having dinners together in effect than either might have independently. our various residences, and talking about our work. The setting provided the perfect atmosphere for the During the Sitka open house, Linsenberg plays exchange of ideas, and we began to collaborate on mutual in an installation of bag “creatures” projects, sometimes in unexpected ways. Robin started making , and I worked with her to design and tune them. While I immersed myself in Bach’s solo music, flutes and musical themes began to appear in the images she painted on her ceramic pieces. Often after we’d hung out together in the evening, depictions of the stories I told her would show up in her paintings over the next few days. Fanciful illustrations of me playing to my dog Jake even made several appearances in her work. (The photos above show the she made for me.) Toward the end of my stay, I also began collaborating with Claudia, the installation artist. Her work was creating installations out of plastic bags, fastened together to form different naturalistic shapes, which she then set up in various locations around the Sitka campus and nearby

14 March 2009 American Recorder There were other opportunities for me to present the music I was Sitka had changed me; working on. Around the midpoint of and it transformed my stay there, I performed in a concert my relationship marking the start of the annual Winds to the music and Waves weekend workshop. I I played as well. played one of my Bach suites, though it was still a work in progress. beauty of the place and the peace I’d The next day, about 45 recorder found there saddened me greatly. players descended upon our quiet little Sitka had changed me; and it enclave, turning it into a hubbub of transformed my relationship to the activity—quite a change from the low- music I played as well. My experience key atmosphere of the prior several allowed me to tap into a deep place weeks. Once I got over the initial inside myself in a way that I never had culture shock of the influx of so many before, something I was then able to Sitka Center, for making my stay there so people, I thoroughly enjoyed meeting communicate through the music I was wonderful, and to its founders, Jane and and working with all of them. A class playing. Bach’s music turned out to be Frank Boyden, who had the vision to I offered on the Bach suites enabled the perfect vehicle, because it expresses create this magical place; to the members of me to share some of the work I'd been in sound the same grandeur, spiritu- the Oregon Coast Recorder Society for doing; conversely, I got input from the ality and universality—as anyone who their generosity in creating and sponsoring students I taught that made me think has heard a live performance of the the recorder residency; to the ARS for differently about the pieces—for B-minor mass can attest—as does the its financial support; and to my wonderful example, what about playing them view from the top of Cascade Head. students who made it possible for me to on a subcontrabass recorder? Since the conclusion of my participate in this life-changing experience Shortly after the workshop, the residency, I have given several (you know who you are!). Sitka residents held a community performances of the ’cello suites, outreach day at which we each demon- including some lecture-recitals on strated our work to children from a them and on my arrangements; more nearby school. I had been working on are planned. I’ve begun working with some contemporary pieces with students of instruments other than the naturalistic themes (fitting for the recorder who are studying the ’cello setting), and this event gave me the suites. And I continue to work on my Lost in Time Press opportunity to play some of them for arrangements—alas, five weeks was the kids. They were fascinated by the just not long enough to learn and New works and extended techniques used to imitate adapt all six suites, although I do arrangements birds and other animals, and of course, plan to publish them in the future. for recorder ensemble Van Eyck’s “Engels Nachtegaeltje” My work at Sitka also inspired me was a hit with them as well. to pick up a project I started over 10 Compositions by As hard as it was for me to get years ago but never brought to Frances Blaker used to Sitka and the residency at the fruition: preparing my arrangements Paul Ashford beginning of my stay, it was even for recorder, violin and continuo of the Hendrik de Regt harder to leave. My departure date six Bach organ trios (that I recorded in and others came too soon. I’d had time to finish 1992), to be published soon by PRB transcriptions of only three of the Productions. And I have no doubt that Inquiries: suites! the Sitka experience will continue to Corlu Collier Saying good-bye to all the friends work on me in ways I’m not even PMB 309 I’d made there—the other artists, as consciously aware of at this time. 2226 N Coast Hwy well as the recorder players I’d met— I would like to give my deep Newport, Oregon 97365 was hard enough; but leaving the and heartfelt thanks to the following www.lostintimepress.com individuals and organizations: to the [email protected]

www.AmericanRecorder.org March 2009 15 Summer Workshop Summer-y

including also one- and two-day options. it is a place to get away, recharge, and MARIN HEADLANDS meet new friends, or re-connect with RECORDER WORKSHOP This year’s faculty includes a wonderful mix of familiar and new faces: David old. The accommodations include Point Bonita YMCA, Barnett, Tom Bickley, Louise Carslake, dormitory-style rooms, a large dining near San Francisco, CA Robert Dawson, Lisa Dykeman, area, and playing spaces all on one level. May 15-17 Frances Feldon, Judith Linsenberg, Rooms are also available for impromptu With each coming tide of that mighty Peter Maund, Fred Palmer and playing sessions. metronome, the Pacific Ocean, and with Glen Shannon. Contact: Anna Lisa Kronman, spring peeping soon, our Marin Music offerings will range from easily 37 Meadow View Rd., Orinda, CA Headlands Recorder Workshop 2009, 94563; 925-258-9442; playable to challenging, from delightful perched at the edge of the ocean and [email protected]; Purcell and Renaissance music, to jazz, embraced in greenery, gets nearer. Again symbolicsolutions.com/ebrs to works by a (very) living composer this workshop will swell with harmonies (led by the chap himself). Check the of recorders, , and perhaps a BLOOMINGTON EARLY EBRS web site for updates. or drum. Intermediate and MUSIC FESTIVAL The workshop is held at the Point advanced players are warmly invited to Bloomington, IN Bonita YMCA, one of very few public join members of the sponsoring East May 15-25 Bay Chapter of the ARS, a SFEMS facilities on this largely undeveloped Performances of Medieval, Renaissance, affiliate, at this annual musical event. area of California coast. Set in a meadow with short walks to Pacific Ocean vistas, Baroque and Classical music, as well as Music-making begins on Friday and the historic Point Bonita Lighthouse, educational programs for concertgoers, continues through Sunday afternoon, and remnants of WWII fortifications, amateur performers, and children. Please see BLEMF.org for details. The Madison Early Music Festival presents Contact: Carol Huffman, PO Box 734, Bloomington, Telescopic Vistas: MEMF X and Music of the Spheres IN 47402; 812-824-2412; [email protected]; blemf.org Celebrating the International Year of Astronomy July 11-18, 2009 WHITEWATER EARLY MUSIC FESTIVAL (ARS) Guest Artists & Ensembles: Faculty Recorder Artists: University of Wisconsin, Quicksilver with Marion Verbruggen Joan Kimball Whitewater, WI Piffaro, The Renaissance Band Priscilla Smith June 5-7 The Newberry Consort Marion Verbruggen Directors: Nancy Chabala, Venere Quartet Robert Wiemken Carol Stanger, Pam Wiese Our workshop is held on campus at the University of Wisconsin–Whitewater, Explore music from the days of Galileo and Kepler. about 60 miles SW of Milwaukee. Celebrate the influence of astronomy on society, arts, and culture Classes include focus and specialty area in the 15th through 17th centuries. instruction for all levels of recorder playing, as well as beginning—consort Our tenth anniversary festival features a seven-concert series and a week-long da gamba, wind band, voice, workshop with classes and ensembles for participants of all levels. recorder orchestra and mixed consort. A variety of special interest classes on Friday evening, and Saturday evening For more information, please call (608) 263-6670 participant gathering led by Louise or visit www.memf.dcs.wisc.edu. Austin. The various classes include

16 March 2009 American Recorder music from Medieval to modern. Renaissance music. The workshop Players of modern and early instruments Several music/instrument vendors on culminates with a participant are encouraged to attend. site. Dale Taylor will be on site for performance on period instruments Led by John Tyson, director of the repairs. All ages are welcome, as such as recorders and other early winds, Renaissance music and dance ensemble well as non-participants. viols, , harpsichord and percussion. RENAISSONICS, who has performed Vocalists are also welcome. Participants Faculty includes Dale Armentrout, and lectured worldwide, including for will supply their own instruments. Louise Austin, David Echelard, Charles the Boston Symphony Orchestra’s Fischer, Shelley Gruskin, Lisette Early registration is recommended, Tanglewood Institute. Kielson, Laura Kuhlman, Patrick as space is limited. Introductory lectures will be followed by O’Malley, Tulio Rondon, Karen Contact: Matthew Wiliford, intense chamber music coaching in large Snowberg, Mary Halverson Waldo and Director, ICCA, PO Box 199, and small ensembles. Concentration will Todd Wetherwax. Brochures available. Interlochen, MI 49643; 231- be on personal expression, rhetoric and 276-7441; 231-276-5237 (fax); Contact: Nancy Chabala, phrasing, performance practice and [email protected]; 8609 45th St., Lyons, IL 60534- ornamentation. The institute will interlochen.org/college 1616; 708-442-6053 (day), culminate in a public performance at the 630-789-6402 (fax), New England Conservatory of Music. RENAISSANCE CHAMBER [email protected] Faculty: John Tyson, recorder; Laura MUSIC INSTITUTE (housing/registration), Gulley, violin; Daniel Rowe, ’cello; [email protected] (mailing/ New England Conservatory of Music, and guest artists. scholarships), [email protected] Boston, MA Contact: Director of Summer (faculty/facilities) June 11-21 School, New England A unique opportunity for professional Conservatory of Music, INTERLOCHEN EARLY MUSIC musicians and advanced students to 290 Huntington Avenue, Boston, WORKSHOP discover and explore one of the greatest MA 02115; 617-585-1126; Interlochen Center for the Arts, repertoires of Western music, which is 617-585-1135 (fax); newengland Interlochen, MI eminently suitable for all instruments. conservatory.edu/summer June 7-12 Director: Mark Cudek Make and enjoy Medieval and Early Music Renaissance music while learning Canto Antiguo new skills and techniques. West Coast Early Workshop Topics will include articulation, Music and Dance July 5-12, 2009 ornamentation, improvisation and ensemble arrangement in Medieval and Chapman University Featured Faculty Orange, CA Workshops carrying Thomas Axworthy ARS designation have Janet Beazley Classes in joined the ARS as Mark Davenport workshop members. Ronald Glass Recorder Ensemble Other shorter workshops Carol Lisek (all levels) may be sponsored Vocal Ensemble periodically through the Jim Maynard Renaissance Brass year by ARS chapters, and Alice Renken and Reeds are listed in the calendar portion of each ARS Viols Beautiful Campus Collegium Newsletter, as well as on Fully air-conditioned the ARS web site, when Folk Dance information becomes For Information Call available from presenters. 800-358-6567 www.cantoantiguo.net

www.AmericanRecorder.org March 2009 17 Berlin (recorders), Tom Zajac (reeds harpsichord; Sand Dalton, oboe; SUMMER TEXAS TOOT (ARS) and ensembles), Mary Springfels Kathleen Kraft, flute; Michael Sand, Concordia University, Austin, TX (viols), Becky Baxter ()—but watch violin and orchestra; Mary Springfels, June 14-20 for more faculty to be added soon. viola da gamba; Peter Sykes, Director: Daniel Johnson Contact: Daniel Johnson, harpsichord; Tanya Tomkins, ’cello. The Summer Texas Toot is a one-week PO Box 4328, Austin, TX 78765; Contact: Kathleen Kraft, SFEMS, program of classes in Renaissance 512-371-0099; [email protected]; PO Box 10151, Berkeley, CA and Baroque music at all levels, for toot.org 94709; 707-874-2014; recorders, viols, singers, plucked strings, [email protected]; sfems.org Renaissance reeds and brass, and SAN FRANCISCO EARLY MUSIC harpsichord. Our classes include an SOCIETY BAROQUE MUSIC & SAN FRANCISCO EARLY MUSIC array of small, one-on-a-part DANCE WORKSHOP (ARS) SOCIETY CHILDREN’S MUSIC Renaissance and Baroque ensembles Sonoma State University, DISCOVERY WORKSHOP (ARS) and larger mixed vocal and instrumental Rohnert Park, CA Crowden Center for Music, groups. The size of the workshop June 14-20 Berkeley, CA enables us to create classes for all levels Directors: Phebe Craig, Kathleen Kraft, June 21-26 (day camp) of students, from those of modest Frances Blaker Director: Letitia Berlin skills to advanced players and singers. A music-packed week of master classes, Early music and Renaissance social Same Texas Toot hospitality and concerto evening, coached ensembles, history for youth ages 7-15; beginners traditions—back in Austin, but at Baroque orchestra, vocal and wind to advanced students welcome. Daily Concordia University’s beautiful new ensembles, continuo classes, concerts schedule includes chamber music, campus! Classrooms, dining and dorm and lectures. musicianship, crafts, costume-making accommodations are air-conditioned and games. Friday night concert and and easily walkable. Featuring recorder faculty Frances Blaker and Cléa Galhano. Other faculty: theater project presentation, followed Currently, our featured faculty are Tish Christine Brandes, voice; Phebe Craig, by potluck supper.

Rebecca Ahrendt, Julie Jeff rey, viol Janet Beazley, recorder Shira Kammen, viell e Tish Berlin, record er, co-direct or Peter Maund, percus sion Frances Blaker, recorder, co-direct or Kim Pineda, recorder Vicki Bœckman, recorder Ellen Seibert, viol Louise Carslake, recorder, fl ute Peter Seibert, recorder, Charles Coldwell, recorder Margriet Tindemans, viol, viell e Rotem Gilbert, recorder Brent Wissick, viol

Play early music in the spectacular Pacifi c Northwest! Choose from classes in recorder, viol, fl ute, and percussion. Polish your skills and/or take up a new instrument. Sing and dance. Enjoy the faculty concert. Take part in the student recital. Make the most of your stay with a hike at nearby Mt. Rainier or a visit to the Museum of Glass. For informat ion or to request a brochure, call (206) 932-4623 write to Port Townsend Early Music Workshop 1108½ Alki Ave. S.W. / Seattle, WA 98116 or vis it www.seattle-recorder.org July 12–18, 2009 Port Townsend Early Music Workshop

At the beautiful University of Puget Sound, Tacoma, WA Tish Berlin & Frances Blaker, Co-Direct ors Presented by the Seattle Recorder Society

18 March 2009 American Recorder Please note that this is a day camp. WORLD FELLOWSHIP INDIANAPOLIS EARLY Out-of-town students may contact the EARLY MUSIC WEEK MUSIC FESTIVAL director regarding accommodations with host families. Some financial aid Chocorua, NH Indianapolis, IN available. June 25-July 2 June 26-July 19 Directors: Jane Hershey, Larry Wallach July 8-9: Mini Boxwood Workshop Featuring recorder faculty Vida Bateau and Letitia Berlin. Other faculty: Faculty of eight—including Jane The Indianapolis Early Music Festival Katherine Heater, dance; Shira Hershey, Roy Sansom, Pamela Dellal, is the oldest continually running early Kammen, musicianship and theater Jay Rosenberg, Julian Cole, Anne music concert series in the U.S. band; Ron McKean, harpsichord; Legêne, Larry Wallach and Josh Presented since 1967, our mission is to Carla Moore, violin; Farley Pearce, Sholem-Schreiber—in a beautiful enrich, educate and entertain audiences ’cello and viola da gamba; Allison Rolls, White Mountain camp setting, conduct with the music of Medieval, Renais- theater project director. a week-long workshop in French early sance, Baroque and early Classical eras, music (late Medieval through Baroque). and feature exciting performers of Contact: Letitia Berlin, SFEMS, national and international stature using PO Box 10151, Berkeley, CA Faculty and student concerts, English 94709; 510-559-4670; country dancing, special lectures, instruments of the period and histori- [email protected]; morning and afternoon workshops in cally informed styles and techniques. sfems.org viols, recorders, voice, mixed ensembles, For 2009 we will present Reconstruction Sephardic music and Baroque chamber (June 26 ), Ex Umbris (June 27), Chris OBERLIN BAROQUE music, and classes in Feldenkrais body Norman & David Greenberg, with PERFORMANCE INSTITUTE work. Ronn McFarlane & Mark Cudek (July Oberlin College, Oberlin, OH Camp facilities include hiking, 10), I Furiosi (July 12), Harmonious June 21-July 5 swimming, boating; camp gardens Blacksmith (July 17), and the Peabody Directors: Oberlin Baroque Ensemble supply kitchen with vegetables. Consort with Indiana Repertory Theatre (Cathy Meints, Marilyn McDonald, Very affordable rates. (July 19). We also offer our second annual Family Concert featuring the Michael Lynn, Webb Wiggins) and Contact: Larry Wallach, Peabody Consort on July 18— a free artistic director Kenneth Slowik 69 Welcome St., Great Barrington, concert geared to young audience Celebrating its 38th anniversary with MA 01230; 413-528-7212 (day); members. Several groups also offer Music in London 1659–1759, this 413-528-9065 (evening); outreach events for younger (generally institute offers instruction in Baroque 413-528-7365 (fax); high-school-aged) musicians and actors. instruments and voice. Students of all [email protected]; levels—from beginning to Baroque worldfellowship.org In 2009 we also present a two-day performance to the professional level— “Mini Boxwood” workshop with Chris participate in master classes and coached ensembles with an international faculty Marin of Baroque specialists. Scholarships Headlands are available for qualified high school Recorder students. Workshop Contact: Anna Hoffman, Conservatory of Music, 77 West College St., Oberlin, OH 44074; 440-775-8044; 440-775-8942 (fax); [email protected]; oberlin.edu/con/summer/bpi

www.AmericanRecorder.org March 2009 19 Norman (early/traditional flutes and Contact: David Gerry, 129 Locke MOUNTAIN COLLEGIUM (ARS) pipes), David Greenberg (Baroque Street South, Hamilton ON L8P violin and fiddle), and Ronn McFarlane Cullowhee, NC 4A7 CANADA; 905-525-9549; (lute) on July 8-9. June 28-July 4 [email protected]; davidgerry.ca Director: Patricia Petersen Contact: emindy.org Nestled in the Smoky Mountains, CANTO ANTIGUO EARLY MUSIC SAN FRANCISCO EARLY MUSIC Western Carolina University provides a AND RECORDER WORKSHOP SOCIETY MEDIEVAL & lovely location for Mountain Collegium, Chapman University, Orange, CA RENAISSANCE WORKSHOP (ARS) with comfortable accommodations in a July 5-12 new dorm and catered evening meals. Sonoma State University, Directors: Thomas Axworthy, The workshop— at once informal and Rohnert Park, CA Ronald Glass intensive— combines study of Renais- June 28-July 4 This one-week workshop is designed sance, Baroque and contemporary music Director: Tom Zajac to broaden the performance skills of and improvisation on recorder, viol and Workshop theme: Stories and Legends. experienced students, and introduce other early instruments with opportu- Renaissance and Open to singers and players of early nities to explore Celtic and other instruments (recorders, da gamba, and musical experiences to beginning traditional music on hurdy gurdy, and intermediate players. Students at all lutes, , etc.). Coaching by mountain dulcimer and pennywhistle. world-class specialists in Medieval levels participate in instrumental, vocal Friendly participants of all levels and and Renaissance music. Classes for and dance instruction/ performance. ages welcome newcomers into the voices, recorders, viols and alta capella; The workshop takes place at Chapman Mountain Collegium family. Varied class voice master class; ensemble coaching; University. Studios, dining hall and offerings, time for informal music- storytelling for musicians and residences are all air-conditioned. This making, and evening English country storytelling accompaniment; invitingly landscaped, peaceful campus dancing bring students back year after Renaissance choir; Medieval band; with garden paths is a mixture of year. Faculty: Valerie Austin, Atossa theater project; faculty and student historic and modern architecture. Kramer, Jody Miller, Patricia Petersen, concerts; lectures and more. John Tyson (recorders, other winds); The theme of this year’s workshop is Scholarships as well as academic credit Martha Bishop, Lisle Kulbach, Holly Music of the Italian Renaissance. Dances, or continuing education credit are Maurer, Gail Ann Schroeder, Ann Stierli masses, motets and ceremonial music offered. Featuring recorder faculty (strings); Lorraine Hammond, John will resonate as we explore the music of Frances Blaker, Annette Bauer, Dan Trexler (traditional music). Monteverdi, Palestrina, Gesualdo, et al. Stillman and Tom Zajac. Other faculty: Contact: Patricia Petersen, Faculty includes Thomas Axworthy, Patrick Ball, storytelling, ; 1702 Vista St., Durham, NC Janet Beazley, Mark Davenport, Ron Karen Clark, voice, movement for 27701; 919-683-9672; Glass, Carol Lisek, Jim Maynard musicians; Julie Jeffrey, gamba; Shira [email protected]; and Alice Renken. Kammen, Medieval strings, music for mountaincollegiummusic.org Contact: Ronald Glass, storytelling; Drew Minter, voice, theater 129 Altadena Dr., Pittsburgh, project; Tim Rayborn, Medieval strings, GREAT LAKES SUZUKI FLUTE & PA 15228-1003; 800-358-6567 percussion, music for storytelling; RECORDER INSTITUTE (day); 310-213-0237 (evening); Larry Rosenwald, theater project, McMaster University, 562-946-4081 (fax); rhetorician in residence; Mary Hamilton, ON, Canada [email protected]; Springfels, gamba, theater project; July 4-11: Teacher training, Book 1 cantoantiguo.net Annette Bauer, early notation; Dan July 7-11: Teacher training, Book 2 Stillman, reeds, alta capella ensemble; CAMMAC EARLY MUSIC WEEK July 7-11: Student Institute Tom Zajac, , Renaissance choir. Director: David Gerry Lake MacDonald Music Center, Contact: Tom Zajac, SFEMS, Harrington, QC, Canada Master classes, group instruction, PO Box 10151, Berkeley, CA July 5-12 recitals, plus enrichment classes for 94709; 617-323-0617; Directors: Francis Colpron, students. Teacher training with Mary [email protected]; Marie-Nathalie Lacoursière sfems.org Halverson Waldo. CAMMAC provides a unique oppor- tunity to make music with family and

20 March 2009 American Recorder friends in a beautiful setting north of Galileo’s experiments. MEMF new and old! Intense music-making that Montréal, QC, under the guidance of celebrates its tenth season, exploring will inspire you during the workshop and internationally acclaimed professional works of music and the arts inspired by a throughout the year. musicians. scientific discovery that had tremendous Directors Tish Berlin and Frances In four daily 75-minute classes plus impact on culture and civilization. Blaker eagerly await your arrival and lectures, early music lovers will have MEMF was created to provide an anticipate a splendid workshop. the opportunity to play to their heart’s opportunity for musicians, scholars, Recorder faculty: Janet Beazley, Tish content. teachers and early music enthusiasts to Berlin, Frances Blaker, Vicki Boeckman, Small ensembles and voice classes are set gather and exchange information and Louise Carslake, Charles Coldwell, up ahead of time; registration for other ideas about Medieval, Renaissance and Rotem Gilbert, Kim Pineda. classes occurs on site the first evening. Baroque music, and to bring acclaimed Contact: Jo Baim, Workshop Courses include choir, large instrumental early music artists to the Midwest to Administrator, 1108 ½ Alki ensemble, many recorder and viol perform in beautiful Madison. Ave. SW, Seattle, WA 98116; classes, Medieval and Renaissance Featured MEMF 2009 guest artists-in- 206-932-4623; ensembles, Orff method and Baroque residence include Marion Verbruggen, [email protected]; dancing. There are courses for The Newberry Consort, Quicksilver, seattle-recorder.org adolescents and a program for Piffaro and Venere Lute Quartet. children 4-11 years old. Recorder faculty members include Special project in 2009: The Fairy Queen Marion Verbruggen, Joan Kimball, Amherst Early by Purcell with choir, instrumental Priscilla Smith and Robert Wiemken. ensemble, soloists and staging. Key Contact: Chelcy Bowles, University Music Festival faculty: Matthias Maute, Christopher of Wisconsin–Madison, 720 Lowell Jackson, Laura Pudwell, Margaret Center, 610 Langdon St., Madison, July 12-19 and 19-26, 2009 Little, Marie-Nathalie Lacoursière. WI 53703; 608-265-5629; 608-262-1694 (fax); Connecticut College, Contact: Johanne Audet, [email protected]; 85 Chemin CAMMAC, Harrington, New London, CT memf.dcs.wisc.edu/ QC J8G 2T2 CANADA; 888-622-8755 #1; PORT TOWNSEND 819-687-3323 (fax); EARLY MUSIC WORKSHOP (ARS) [email protected]; cammac.ca/english/TabLM/ University of Puget Sound, Summer.shtml Tacoma, WA July 12-18 Renaissance consorts MADISON EARLY Directors: Letitia Berlin, Frances Blaker Baroque ensembles MUSIC FESTIVAL Join us this summer at our new location Master classes University of Wisconsin–Madison with a star-studded faculty, a beautiful Renaissance Academy July 11-18 tree-lined and easy-to-navigate campus Early notation, and more! Directors: Cheryl Bensman Rowe with accessible facilities, and a No audition required. and Paul Rowe, artistic; curriculum that will leave you wishing Chelcy Bowles, program there were 48 hours in a day! July 12-19 Baroque Academy* MEMF joins the 2009 International Consort and technique classes for Year of Astronomy in a global celebration recorder and viol, consort and mixed July 19-26 of astronomy and its contributions to repertoire, recorder master class, Virtuoso Recorder* society and culture, including the 400th percussion for all levels, Hildegard for Recorder Seminar* anniversary of the first astronomical singers, Baroque flute, beginning viol, observation made through a telescope by theory, workshop orchestra and more. *Audition deadline: May 15 Galileo Galilei. Galileo’s father, Make an all-Medieval schedule, Vincenzo, was a musician and music or mix it up with a class from almost www.amherstearlymusic.org theorist who combined the practice and every period of music. [email protected] theory of music with mathematical Work hard and play hard with friends, (617) 744-1324 discussion of harmony—and influenced

www.AmericanRecorder.org March 2009 21 Evening activities include English viol, flute as primary instrument; harp, AMHERST EARLY MUSIC FESTIVAL (ARS) , , and informal voice, recorder, viol as secondary instru- playing sessions. Connecticut College in ment. Large and small ensembles: all- Connecticut College, New London, CT eastern CT offers comfortable air- workshop ensemble (instruments and July 12-19: Baroque Academy conditioned accommodations, natural voices), Renaissance band (recorders, July 19-26: Virtuoso Recorder/ areas for walking, and a view of Long viols, capped reeds, voice), Medieval Recorder Seminar/ Island Sound. Scholarships and work- collegium (puzzles & canons), consorts Renaissance Academy study aid available. (by level), vocal ensemble. Also English Director: Marilyn Boenau Contact: Marilyn Boenau, country dance, penny whistle. We also Music of England and . Two weeks Director, or Cathy Stein, offer viol-for-novice and harp-for- of classes in most early instruments, Administrator, 47 Prentiss St., novice, each providing the opportunity voice, dance and notation. Watertown, MA 02472; for hands-on experience without owning Week 1 includes classes for recorder, 617-744-1324 (day); an instrument. Other classes on special viol, other early instruments, voice, 617-744-1327 (fax); early music topics and literature. dance and notation. Special programs: [email protected]; Faculty: Marilyn Carlson, director; Baroque Academy, Baroque Academy amherstearlymusic.org Martha Bixler, Stewart Carter, Judith Opera Project (Purcell’s Dioclesian). Davidoff, Eric Haas, Mary Johnson, MIDEAST WORKSHOP (ARS) July 18-19: Music & Instrument Peter Ramsey, Kenneth Wollitz, other LaRoche College, Pittsburgh, PA Exhibition. faculty to be announced. All facilities are July 19-25 air-conditioned. Week 2 comprises classes for recorder, Director: Marilyn Carlson viol, other early instruments, voice and Contact: Marilyn Carlson, . 55-60 students of all 1008 Afton Road, Columbus, OH notation. Special programs: Virtuoso ability levels; adults only. Instruction for 43221-1680; 614-754-7233; Recorder, Recorder Seminar, recorder (all levels except novice), viol, [email protected]; Renaissance Academy. harp, flute. You may enroll for recorder, mideastearlymusic.addr.com

San Francisco Early Music Society Summer Workshops 2009 Recorder · July 19–25, 2009 La Dolce Vita di Flauto · Explore the full range of recorder music from the Middle Ages to the 21st century through ensemble work, technique sessions, and recorder orchestra. For the devoted amateur, all ages, intermediate to advanced. Friendly atmosphere, small classes. Quiet campus near all amenities. Special offerings: Recorder orchestra, recorder master class, coached informal playing. Faculty: Louise Carslake, Frances Feldon, Rotem Gilbert, Katherine Heater, Norbert Kunst, Patrick O’Malley, and Hanneke van Proosdij. Info: Frances Feldon, 510-527-9840; [email protected] Baroque Music & Dance · June 14–20, 2009 Music in Italian Cities · Master classes, recorder ensemble, concerto evening, coached ensembles, classes, concerts, and lectures. Featuring recorder faculty Frances Blaker and Clea Galhano. Info: Kathleen Kraft, 707-874-2014; [email protected] Medieval & Renaissance Music · June 28–July 4, 2009 Stories & Legends · Classes for voices, recorders, viols, and alta capella; voice master class; ensemble coaching; storytelling for musicians and storytelling accompaniment; Renaissance choir, medieval band, theater project, faculty and student concerts, lectures, and more. Featuring recorder faculty Frances Blaker, Annette Bauer, Dan Stillman, and Tom Zajac. Info: Tom Zajac, 617-323-0617; [email protected] Music Discovery · June 21–26, 2009 Day camp for youth ages 7 to 15. Early music and Renaissance social history. Instruction in recorder, harpsichord, strings, chamber music, musicianship, crafts, costume-making, games, and more. Beginners to advanced students welcome. Featuring recorder faculty Vida Bateau and Letitia Berlin. Info: Letitia Berlin, 510-559-4670; [email protected] For more information, visit our web site: www.sfems.org

22 March 2009 American Recorder ment, exercises, analysis and body SAN FRANCISCO EARLY MUSIC Amherst Early Music Festival responses, explore music and energy, SOCIETY RECORDER WORKSHOP (photo by Marc Weinberg) in a unique inter-generational workshop (ARS) format. Opportunities for independent St. Albert’s Priory, Oakland, CA recorder study and private lessons enrich July 19-25 the music-making experience. Directors: Frances Feldon, Registration fee $50 prior to 5/15/09. Katherine Heater Tuition, room, meals: $535 adults, $400 Jam-packed week of recorder ensemble students 12-18 (must attend with parent, playing, concerts, and the opportunity to teacher or sponsor); special half-week improve your skills, working with highly rate $275 (Sunday-Wednesday noon). respected recorder specialists in a Member/family discounts. Three hours friendly yet serious atmosphere. Explore graduate credit ($225), 3 CEUs ($50); the full range of recorder music from the and private lessons ($25 each). Middle Ages, Renaissance and Baroque Contact: Phyllis Pasley, 2208 to the 21st century, through ensemble Clouds Peak, Maryland Heights, work, technique sessions, and recorder MO 63043; 314-628-9862; orchestra. For the devoted amateur of all [email protected]; MACPHAIL SUZUKI INSTITUTE ages, from intermediate to advanced. creativemotion.org FOR PIANO, , FLUTE Small classes. Quiet campus. Special AND RECORDER offerings: recorder orchestra; recorder BOXWOOD FESTIVAL CANADA MacPhail Center for the Arts, master class; coached informal playing. Lunenburg, Nova Scotia, Canada Minneapolis, MN Featuring recorder faculty: Louise July 19-26 July 19: Every Child Can!® Carslake, Frances Feldon, Rotem Director: Chris Norman July 19-26: Recorder Book 1 Gilbert, Norbert Kunst, Patrick Discover musical and dance traditions July 20-24: Student Institute O’Malley and Hanneke van Proosdij. while visiting one of North America’s Directors: Cindy Malmin; Other faculty: Katherine Heater, most exquisite 18th-century seaside Mary Halverson Waldo (auditions) harpsichord. towns. Concerts, dances, sessions, Suzuki Clinicians: Marilyn Taggart, Contact: Frances Feldon; SFEMS, classes, lectures with leading artists in the piano; Tadeusz Majewski, piano; David PO Box 10151, Berkeley, CA realms of traditional folk, early music, Madsen, guitar; Kathleen Schoen, 94709; 510-527-9840; dance and improvisation. Work study & flute/recorder; MacPhail Suzuki faculty [email protected]; sfems.org scholarships available. Gourmet cuisine. Sanctioned by the Suzuki Association of Faculty: Chris Norman, director, the Americas, MacPhail’s Suzuki WINDSWEPT MUSIC WORKSHOP traditional & early flutes; Francis Institute allows Suzuki students of all William Jewell College, Liberty, MO Colpron, recorder, ensembles; Lisa ages to share in motivating, enriching July 19-25 Besnoziuk, Baroque flute; David and wide-ranging musical experiences. Director: Phyllis Pasley Greenberg, Cape Breton & Baroque Students work with master teachers and Bring your artistry to life! Strengthen violin; Edmund Brownless, voice, improve skills technically and musically. the mind/body connection and explore shape note singing; Marie Bouchard, Daily classes and observation include: energy and music at Creative Motion harpsichord; Robert Dick, contemporary applied study; theory/reading skills; Alliance’s 59th annual summer techniques & composition; Conal ensemble skills; chamber music; perfor- conference, Windswept. Professional O Grada, ; Jerry O’Sullivan, mance practices; composition/ improv- musicians, conductors, teachers, students pipes, whistle; Rod Garnett, flute isation; master classes, recitals; art and and amateur music enthusiasts will fundamentals, ethnic flutes; Pierre music; /drumming; music discover barriers that inhibit the free flow Chartrand, social dance; Marlys history; recitals and presentations; Teen of energy and learn the secrets of inner- Norman, ballet, classical dance; Musical Revue (ages 13-18): fashion directed artistic music-making. Classes Rod Cameron, flute maker; character sketches, develop a framework in piano, voice, instrumental music, Tempest Baroque. or theme, and present to an audience. expressive arts and independent study. Contact: 902-634-9994; Who may attend? Suzuki students who Master class coaching and conducting boxwood.org; have completed the Twinkle Variations opportunities available. Using move- musiqueroyale.com (preschool–grade 12; parents or another

www.AmericanRecorder.org March 2009 23 responsible, interested adult must attend viola da gamba; Jed Wentz, traverso. Contact: The Clearing, PO Box 65, with students under high school age); Contact: Karen Burciaga, Com- Ellison Bay, WI 54210-0065; teacher trainees/observers. Participants munity Programs Registrar, One 877-854-3225; 920-854-9751 must arrange meals, housing and trans- Follen St., Cambridge, MA 02138; (fax); [email protected]; portation. Teacher Training prerequi- 617-876-0956 X1532 (day); theclearing.org sites: Every Child Can!® before Book 1; 617-354-8841 (fax); karen.bur courses must be taken in order through [email protected]; longy.edu AMERICAN RECORDER SOCIETY Book 2. Contact workshop regarding FESTIVAL AND CONFERENCE required audition and preparation. RECORDER AT THE CLEARING University of Missouri at St. Louis, Contact: Cindy Malmin, The Clearing, Ellison Bay, WI St. Louis, MO 612-767-5461; July 26-August 1 July 30-August 2 [email protected]; Directors: Pat Badger, Attend the second ARS Festival and Mary Halverson Waldo, Adrianne Paffrath Conference for one day ($150) or all 5679 Harding Lane, Shorewood, Recorder ensemble has been a tradition weekend ($350)! MN 55331; 952-470-5853; at The Clearing for over 25 years. [email protected] Sessions include recorder technique, Ensemble playing is the week’s focus. pedagogy, introductions to Orff, Suzuki Each day begins with a warm-up of INTERNATIONAL BAROQUE and Flutes and Drums Around the World voices and bodies as we sing rounds and INSTITUTE AT LONGY methods, improvisation, roundtable ready our muscles for performance. discussions, how to conduct your Longy School of Music, Daytime sessions focus on rhythmic consort, coached playing sessions for Cambridge, MA challenges, recorder technique and Medieval, Renaissance, Baroque, world July 24-August 2 ensemble blend; emphasis is on growth, and contemporary repertoire, recorder Directors: Paul Leenhouts, process and, most of all, enjoyment. orchestra, incorporating percussion into co-director Phoebe Carrai To participate fully, you need at least your ensemble. Also recorder mainte- Venice–Dresden Connection: International intermediate skills on a C or F recorder. nance, choosing a recorder, building a Meeting Grounds. Music of Monteverdi, Adrianne Paffrath coached on recorder web site, using Sibelius music software. Veracini, Hasse, Heinichen, Marcello, with ARS teachers. She is music director Mini-concerts by the next generation of Vivaldi, Pisendel, Albinoni, Zelenka, at Racine’s First Presbyterian Church. professionals, master classes, concerts by Lotti, Schein, Schutz, Quantz, Gabrieli. Patricia Badger has studied early music Marion Verbruggen and the Farallon 2009 faculty: Paul Leenhouts, recorder; instruments, natural and classical Recorder Quartet. Exhibition of Phoebe Carrai, ’cello; Elizabeth trumpet. She is performing arts head of recorder builders, music sellers and Blumenstock, violin; Ricard Bordas, The Prairie School. Jointly, they have more. CEUs available. voice; Arthur Haas, harpsichord; Lucas performed for Medieval festivals, grape Presenters: Louise Austin, Annette Harris, lute; Ken Pierce, early dance; stompings, Shakespeare celebrations and Bauer, Tish Berlin, Frances Blaker, Gonzalo Ruiz, oboe; Mary Springfels, a circus parade. Joyce Callanan, Louise Carslake, 11th Annual Summer Texas Toot June 14-20, 2009 — Austin, Texas The Summer Toot is once again in Austin, at the beautiful new facility of Concordia University. The lushly wooded campus offers air- conditioned classrooms, dining and dorm accommodations, and is backed by a nature preserve. Please join us! Our featured faculty includes: Tish Berlin Tom Zajac Mary Springfels The Texas Toot offers a one-week program of classes in Renaissance and Baroque music at all levels, featuring expert instructors in re- corder, viol, early reeds, lute, harp, and voice. Danny Johnson, workshop director; Susan Richter, administrator. For more info: http://www.toot.org or email [email protected]

24 March 2009 American Recorder Mark Davenport, Cléa Galhano, Lisette Contact: Steve Howe, Country mediate to advanced levels. Week I Kielson, Lorraine Krige, Judith Dance and Song Society, faculty: Letitia Berlin, Frances Blaker, Linsenberg, Peter Maund, Nina Stern, PO Box 338, Haydenville, MA Louise Carslake, Annette Bauer Marion Verbruggen, Leslie Timmons, 01039-0338; 413-268-7426 X3 (recorder); David Morris (gamba). (day); 413-268-7471 (fax); Jim Tinter, Mary Halverson Waldo. Week II: all levels except beginner. [email protected]; cdss.org/em Contact: Yvonne Miller-Nixon, Classes include recorder technique, Conference Administrator, viol consort, Baroque chamber music, MONTRÉAL RECORDER FESTIVAL 1129 Ruth Dr., St. Louis, MO consort classes for Medieval, Renais- 63122; 800-491-9588 (day); McGill University, Montréal, sance, Baroque and contemporary reper- [email protected]; QC, Canada toire, workshop orchestra. Week II americanrecorder.org September 17-20 faculty: Letitia Berlin, Frances Blaker, Directors: Matthias Maute, TBA (recorder); Shira Kammen (early EARLY MUSIC WEEK AT Sophie Larivière strings, singing, Medieval topics); Mary PINEWOODS CAMP (ARS) Conference: consort music; recorder Springfels (viola da gamba). Pinewoods Camp, Plymouth, MA orchestra; concerts—Ensemble Caprice Evening events include faculty concert, August 15-22 and Quynade (Israel), solo recital by student concert, free-lance playing. Free Director: Sheila Beardslee Maurice Steger (Switzerland). Wednesday afternoon for more playing The Myth & Magick: Creativity and Contact: Ensemble Caprice, 4841 or sightseeing. Improve your playing in a Inspiration in Early Music. Surely the Garnier, Montréal QC H2J 3S8 supportive, friendly atmosphere with deities of Olympus will surround us at CANADA; 514-523-3611; world-class teachers. 514-523-1322 (fax); Pinewoods–where the myths of early Contact: Peter Meckel, [email protected]; music will be made clear, and our staff’s PO Box 116, Carmel Valley, CA ensemblecaprice.com “magickal” skills will hone and perfect 93924; 831-659-3115; our knowledge and performance of 831-659-7442 (fax); HIDDEN VALLEY INSTITUTE early music and dance. [email protected]; FOR THE ARTS hiddenvalleymusic.org If you’ve never played a musical instru- EARLY MUSIC ELDERHOSTEL ment (but wish you could) or if you Carmel Valley, CA studied music years ago (and fear you’ve November 1-7, November 8-14 forgotten), classes in recorder and viol Directors: Letitia Berlin, workshop; will get you started or help brush off the Peter Meckel, HVIA rust. Advanced and intermediate players and singers choose from a wide array of Enroll for one or both weeks. Adults of classes, led by an outstanding faculty all ages welcome. of professionals and teachers of early Week I: intense classes for upper inter- winds (recorders, reeds, brass), strings (viols, violin), harpsichord and voice. New staff faces this summer are Anonymous 4’s Susan Hellauer, voice, and Lisa Terry, viol. We welcome back Dorrie Olsson, historical dance, and Scott Higgs, English country dance. We relax with two ponds for swimming/ canoeing, a camphouse deck for reading, afternoon tea and lots of dancing. Early Music Week continues its long tradition of superb teaching in a welcoming com- munity, enhanced by special events, presentations, concerts—and dancing. Advanced musicians work intensively, amateurs are engaged and challenged, and beginners are always made welcome.

www.AmericanRecorder.org March 2009 25 2009 SUMMER RECORDER WORKSHOPS Amherst ARS Festival and Conference CAMMAC Early Music Week Canto Antiguo Recorder at the Clearing Great Lakes Suzuki Flute/Rec Hidden Valley Elderhostel Interlochen Early Music Inst Longy Intl Baroque Inst Marin Headlands Mideast Montréal Recorder Festival COST $520TW $350T C$1014ED $860 $1035E TBA $799D $389T $675T $210ED $735D $130T NO. OF DAYS 8/14 1-4 7 775-87/14610364 ARS DISCOUNT NOYESNOYESNONONONONONONONO NO. OF FAC/ RECORDER FAC. 43/15 17/16 16/5 8/5 2/2 8/2 5/4,3 1/1 10/1 10/10 9/6 6/6 NO. OF STUDENTS 150/wk 60 110 35 19 45 35 20 50 75 60 50 RECORDER CLASS LI,HI, B,LI, B,LI, B,LI, LI,HI, LI,HI, B,LI, B,LI, LEVELS A,V HI,A,V HI,A,V HI,A,V LI,HI,A B,LI A,V LI,HI,A A,V A,V HI,A,V HI,A,V C,MR,MB, RP,MR, MR, C,MR, RP,C,MR, RP,C,MR, C,MR, SPECIAL CLASSES 20,EN,M, MB,20,M, C,MR, MB,EN, RP,M, MB,20, MB,EN, MB,20, MB,M, USING RECORDERS RO,T RO,P,T,O MB,RO RO,P,T C,RO P,T M,RO,P,T M,RO,P,T MB,M,P RP,20 EN,M,T,O RO NON-RECORDER C,W,K,V, C,W,K, C,W,P, C,W,V, CLASSES PS,D,O P,O V,D,T C,W,V,D C O K,V,PS K,V,PS,T W,K, V,D PS,D,O MUSICAL F,S,L, S,L, ACTIVITIES SP,P F,L,O F,S,L,SP F,S S,P F,S,L,P F,S,P SP,P,O F,S,L,P P F,S,L,P F,S B,S,T, RECREATION D G,S B,S,T,W D F,B,S,W F,S,O O W,O S O G OTHERS WELCOME S,C S S,C S S S S S DIRECT S,B,C, TRANSPORTATION S,C S,B,C,P S,P B,C,L,P B,P S,B C,PU,P C,L, PU,P PU,P TRANSPORTATION A50, A10, A80, A50, A20, A16, A4, A15, A4, TERMINALS B2, T2 A, B, T B3, T5 B80 B10, T10 B20, T20 B16 B3, T3 A20 B10, T10 B3, T3 ROOMS S,D S,D S,D S,D S,D,C S,D S,D S,D,C D BATHS S,SP S,SP,P S,P P S,SP,P S,SP,P SP P S P FOOD C,V C G,V C,V F,V C F C,V C,V C HANDICAP ACCESS H,C,D H,C,D H,C,D H,C,D H,C H,C,D H,D H,C,D C H,C,D H,C,D C KEY COST: Includes tuition, room (single occupancy unless otherwise noted), meals, plus other fees, E=estimated, T=tuition only, D=double occupancy, W=one week NO. of DAYS: Includes arrival and departure days ARS DISCOUNT: Discount offered for ARS members # FACULTY/RECORDER FACULTY: Number of faculty/recorder faculty within that number # STUDENTS: Average over last two years RECORDER CLASS LEVELS: B=beginners, LI=low intermediate, HI=high intermediate, A=advanced, V=very advanced SPECIAL CLASSES USING RECORDERS: RP=recorder pedagogy, C=one-on-a-part consorts, MR=mixed Renaissance ensembles, MB=mixed Baroque ensembles, 20=contemporary music, EN=early notation, M=master class, RO=recorder orchestra, P=private lessons available, T=technique, O=other NON-RECORDER CLASSES: C=choral, W=other winds, P=percussion, K=keyboard, V=viols, PS=plucked strings, D=dance,T=theory, I=instrument building, O=other MUSICAL ACTIVITIES: F=faculty concert, S=student concert, L=lecture, SP=special production, P=organized informal playing, O=other RECREATION: D=dancing, F=field trip, G=gym, B=biking, S=swimming, T=tennis, W=waterfront/beach, O=other OTHERS WELCOME: S=non-playing spouses/friends, C=children (day care not generally available) DIRECT TRANSPORTATION TO WORKSHOP: S=shuttle from airport, B=bus, C=cab, L=limo, PU=will pick up, P=free parking, O=other TRANSPORTATION TERMINALS: A=air, B=bus, T=train (number indicates miles from workshop to nearest terminal) ROOMS: S=singles, D=doubles (with “+” can accommodate up to triples), C=cabins, O=other *=Graduate dorms BATH FACILITIES: S=shared, SP=semi-private, P=private FOOD: C=college style, F=family style, G=gourmet, V=vegetarian HANDICAP ACCESS: H=housing, C=classrooms, D=dining INFORMATION SUPPLIED BY WORKSHOP DIRECTORS

26 March 2009 American Recorder 2009 SUMMER RECORDER WORKSHOPS Mountain Collegium Pinewoods Early Music Week Port Townsend SFEMS Baroque SFEMS Children's SFEMS Medieval & Renaissance SFEMS Recorder Texas Toot Whitewater Windswept Music Workshop World Fellowship $800ED $890ED $975 $950 $370T $950 $950 $740E $245 $535D $850E COST 78775777367NO. OF DAYS NO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT NO. OF FAC/ 12/5 18/9 16/9 10/2 8/2 12/4 7/6 13/6 11/10 13/1 8/3 RECORDER FAC. 50 100 100 55 30 70 40 50 110 45 30 NO. OF STUDENTS LI,HI, B,LI, LI,HI, B,LI, B,LI, B,LI, RECORDER CLASS A,V HI,A,V LI,HI, A,V A,V HI,A,V LI,HI, A,V LI,HI,A LI,HI,A HI,A,V HI,A,V LEVELS C,MR, C,MR, MR,MB, C,MR, C,MR, C,20, C,MR, C,MR, C,MR, MB, MB,EN, 20,M, MB,M, MB,P, EN,M, M,RO, 20,M, MB,20, MB,M, SPECIAL CLASSES 20,T,O RO,T RO,P,T P,T,O T,O P,T,O P,T,O P,T RO,T,O M,P RO USING RECORDERS W,V, C,W,K,V, C,W,K, K,V, C,W,P,V, W,K,V, C,W,V, C,W,P, C,K,V, NON-RECORDER D,T,O PS,D,T C,P,V,T V,PS,T,O D,T,O PS,T,O O PS,T,O T,O K,V,D D,T CLASSES F,S,L, F,S,L, F,S,L, F,S,L, F,S,L, MUSICAL SP,P F,S,P SP,P,O F,S,SP SP,P,O P,O P,O S,P,O F,S,L, P,O F,S,L,P ACTIVITIES F,G,B, D,G,B, D,G,B, D,F, D,G,B,S D,S,W S,T,W S,T D S,T D,O S,O S,W,O RECREATION S S S,C S,C S S S,C S,C OTHERS WELCOME DIRECT P S,C C,PU,P S,C,P S,C,P S,B,C, L,P S,PU,P P B,PU TRANSPORTATION A50, A15, A20, A12, A20, TRANSPORTATION B15, T15 B7, T6 A59 B2, T5 A59 B4, T1 A40 A B15, T28 B10 TERMINALS S,D S,D S S CALL S S S,D S,D S,D S,D ROOMS SP S SP P P S,P P S S S BATHS C,G,V F,V C,V C,V C,V C,V C,V C,V C,V F,V FOOD H,C,D CALL H,C,D H,C,D C H,C,D H,C,D H,C,D H,C,D H,D HANDICAP ACCESS AR@50: AVOIDING ACHES & PAINS quently overused parts, such as By Léonie Jenkins, M.D. (c.1925- 2000), from the March 1993 AR, Vol. XXXIV:1 forearms and hands, also respond to Here are some suggestions for tism.) If glare from bright light (those massage. Quick tutorial on massage: avoiding overuse syndromes: marvelous outdoor rehearsals!) is a start stroking toward the body and in Most obvious, warm up! This means problem for you, you may find that a the direction of the flow of the veins increasing your practice time gradually yellow tint for your glasses is a help. —upstream from the sorest part; before the workshop begins, and Get your bodily playing equip- gradually work down to include the warming up yourself and your ment in the best possible shape before sore spot. You’re trying to move over instrument before each rehearsal. the workshop: a visit to the dentist to the underlying muscle, not to rub the Make your playing situation as smooth off a front tooth for a wind skin. That’s why a little oil helps. comfortable as possible. Take along a player can make an enormous differ- Your psyche may need some relief cushion, back rest, footstool, whatever ence in endurance. A layer of plastic from overload, too. Most workshops it takes; the ear and hand cannot ab- wrap over the teeth (before you’ve are in surroundings that lend them- sorb what the bottom cannot tolerate. worn a hole in your lip) may also help. selves to taking a walk, finding a place Be sure your glasses are ideal Once you’ve arrived at the work- to meditate, taking in some beauty. for the distance from your eyes to the shop, there are ways to ensure that In creating anything, a musical per- music desk; that usually amounts to an stress (inevitable) doesn’t become formance no less than more static art arm’s length away. (You can select a distress (mostly preventable). forms, breathing in is as necessary as pair at your local drug or department Take reasonable breaks during breathing out; be sure you take time store if you have no serious astigma- rehearsal time, and use them to stretch. to do it. Do you have a favorite article A little aerobics, like running in place, Not to be forgotten: those parties! from years past in AR? takes very little time and gets rid of Late hours and alcohol are stressful; E-mail that information that stiff-from-sitting feeling. Get your try to balance off the fun you’re having ? to Gail Nickless, fellow ensemble players to massage with your capacity for both. Above all, [email protected]. each others’ shoulders. Other fre- enjoy! That’s why you’re going.

www.AmericanRecorder.org March 2009 27 Education ______A quiz for recorder players As a conclusion for the Virtuoso person of a group could find the Recorder class during the Amherst answer him/herself; two points when Workshop in 2008, we organized a the selected person needed the help of “Happy Hour” for our nine talented the other group members; and one students. Mee-Jung Ahn (Korea), point if the group needed the help of Emilie Hasselgren and Kristine West our gracious class assistant (Sweden), Anne Timberlake, Joseph Reine-Marie Verhagen (she always Lewnard, Jacob Lodico and Bryce knew the answer). No points were Peltier (U.S.), Emiliano Perez given if the quizmaster had to supply (Mexico) and Fanny Massy (France) the answer. participated in a quiz that I wrote the On the next page you find some night before with the assistance of of my questions. There are more, Reine-Marie Verhagen. which we hope to run in a future issue We combined questions regarding of American Recorder. By Bart Spanhove music theory with practical exercises, The quiz was full of fun and such as: suspense. By the end, people were The author has been principal · How long can a player hold a more nervous than when playing a  professor of recorder at the Lemmens- low f in one breath on an alto concert on stage. Jacob Lodico of the instituut Leuven (Belgium) since 1984. recorder? (You get one point for U.S. was the winner at Amherst. He is also artistic director of the world each second!) famous recorder ensemble, the Flanders · How many times through a scale Recorder Quartet, which is set to perform is a player able to play in 30 in concert at the 2009 Boston Early seconds? (For every of the Music Festival. He is often asked to serve F , you get one point.) as a jury member for international · How many different pieces from recorder competitions in Canada, U.S., the recorder repertoire can a Germany, The Netherlands and Belgium. person play in the course of two He has given numerous master classes and minutes? (The other members of lecture demonstrations all over the world. the group have to guess the name of the composer before the player Spanhove is co-author of the can start the next piece.) successful recorder method Easy Going · In one minute, list as many (Heinrichshofen) and wrote the much- different titles as you can from used book The Finishing Touch of Der Fluyten Lusthof (The Ensemble Playing (Alamire, 2000, Recorder’s Pleasure Garden) and Moeck, 2002, with translations in of J. J. van Eyck. Chinese and German). In 2009 The list of questions goes on! The Recorder Music of Frans Geysen At the “Happy Hour,” people will come out (Mieroprint). were divided into three groups Currently, he is researching practice according to dates of each person’s technique for the recorder. Daily, birthday. When theoretical questions Spanhove thinks about how to make were asked (see below), the point people happier by making music and system was devised as follows: three playing the recorder. points were awarded when the selected

28 March 2009 American Recorder Try these questions yourself! Answers appear at the end of this article.

The Quiz 1. Give the name of Ganassi’s treatise of 1535 where he extensively describes the recorder playing and diminutions of his time. 2. In which German city is the recorder company Moeck based? 3. In the cantata Gottes Zeit ist die allerbeste Zeit, BWV106, J.S. Bach calls for two alto recorders. Give another name for this cantata. 4. Of which famous orchestra is Frans Brüggen the conductor? 5. List three leading Japanese of excellent solo pieces for the recorder. 14. Which king from 16th-century 22. Il Pastor Fido was not composed 6. Give the names of recorder England owned a large collection by , but by a magazines published in of recorders, and also composed French composer. What was his Germany, England and the U.S. and enjoyed daily recorder name? 7. What is the fundamental tone playing? 23. What’s the nationality of the of a fourth flute? 15. How many movements comprise music company Zen-On? 8. List two recorder makers from Handel’s in C, Op. 1, 24. C.P.E. Bach composed a the Baroque period in England. No. 7, originally written for beautiful trio that includes a bass 9. What’s the title of the recitative recorder and basso continuo? recorder. What are the other two and chorale in the Saint Matthew 16. Give the name of Praetorius’s instruments? Passion where the recorder is treatise from 1609 that describes 25. Give the names of the four used? the whole recorder family. movements of Bach’s partita for 10. Give the names of two famous 17. Name the author of the oldest solo traverse flute, BWV1013. publishers in business around recorder method. 26. Which excellent players 1700—one in London and 18. Name Jan Jacob van Eyck’s performed as the recorder trio one in Amsterdam. disability. Sour Cream? 11. The opus 10 work by Antonio 19. Who pretended around 1930 that 27. A recorder normally has eight Vivaldi includes six concerti. the recorder was a kind of fingerholes. Despite this, music Some of them have beautiful ? history describes the recorder names. Give the names of the 20. Who doesn’t belong in the as “une flûte à neuf trous” first three concerti of this opus. following group? Bertho Driever, (a flute with nine fingerholes). 12. What’s a nickname for Karel van Steenhoven, Marion Explain why. Jean Jacques Hotteterre? Verbruggen, Paul Leenhouts, 28. Give the French name for vibrato 13. The combination of recorder and Daniel Brüggen performed by finger movements traverso was rarely used in the 21. Name the two instruments alone on a wind instrument. Baroque time. Can you name indicated to play the sonata 29. Who wrote in his diary: any composers who used this Meiner Mutter of Hans Ulrich “…beyond anything in the whole combination? Staeps. world the wind-music when the

www.AmericanRecorder.org March 2009 29 angel comes down, which is so Answers to 6. Windkanal or Tibia (both of sweet that it ravished me; and Bart Spanhove’s Quiz Germany), The Recorder indeed, in a word, did wrap up 1. La Fontegara (England), American Recorder 2. Celle (U.S.) my soul so that it made me really  sick, just as I have formerly been 3. Actus Tragicus 7. B when in love with my wife.” 4. The Orchestra of the 8. The most famous English 30. What’s the English name for a Eighteenth Century recorder makers around 1700: famous recorder ensemble called 5. R. Hirose, M. Ishii and Bressan and Stanesby (the latter in its country Vier op ‘n Rij? M. Shinohara being both senior and junior) 9. O Schmerz! Hier zittert Provincetown Bookshop Editions das gequälte Herz 10. Walsh (and Hare) (of London), “GO FOR NEO-BAROQUE!” Roger (of Amsterdam) 11. La Tempesta de Mare, La Notte, Andrew Charlton: Partita Piccola. For 4 Recorders (SATB) Il Gardelino [Prelude; Allemande; Courante; Musette— 12. Le Romain a neo-baroque epitome!] (Score & Parts, PBE-25) . . . . . $7.95 13. J.B. Loeillet, J. J. Quantz, J.J. Hotteterre or Andrew Charlton: Suite Moderne. For 3 Recorders (ATB) [Baroque shapes but Hindemithian harmony] J. B. de Boismortier (3 Playing-Scores, PBE-44) ...... $9.95 14. Henry VIII 15. Five Southwest of Baroque. David Goldstein’s “baroque Suite” 16. Syntagma Musicum on Cowboy Songs. For 2 Recorders (SA) (PBE-2) . . . . . $3.50 17. Sebastian Virdung, Musica A good source for Recorder & Viol Music of all publishers. Getutscht und Ausgezogen (1511) The Provincetown Bookshop, Inc. 18. Blindness 246 Commercial Street, Provincetown, MA 02657 Tel. (508)487-0964 19. Igor Stravinsky 20. Marion Verbruggen Strings & Early Winds 21. Alto recorder and piano R 22. Nicolas Chédeville Modern/Baroque Strings Viols 23. Japanese Küng Moeck Mollenhauer Paetzold Yamaha Ehlert 24. Viola and cembalo E Wenner Baroque flutes 25. Allemande, Courante, Sarabande, Wendy Ogle Lu-Mi Ifshin Snow Bourrée 26. Kees Boeke, Walter van Hauwe C Competitive Prices Sent on Approval and Frans Brüggen Personalized Service & Advice 27. Before 1670, the player could O choose how to hold the recorder— left hand or right hand at the top. R This meant that recorder makers drilled two holes to accommodate the little finger of the hand that D ended up at the bottom. The unused hole was sealed E with beeswax. 28. Flattement 29. Samuel Pepys R Lazar’s Early Music 30. Flanders Recorder Quartet (866) 511-2981 [email protected] S www.LazarsEarlyMusic.com 292 Gibraltar Dr., #108, Sunnyvale, CA 94089

30 March 2009 American Recorder On the Cutting Edge ______Birthdays, composers and ______recorder music catalogs by Tim Broege, [email protected] recorder soloists should commission An excellent way to get to know him!), Carter has produced many Kirchner’s music is through his string ecember 11, 2008, was a special chamber pieces featuring woodwinds. quartets. Just in time for his birthday, Dday for American music: the Since many recorder players double or Albany Records has released a fine CD 100th birthday of America’s greatest started out on woodwinds, such pieces of all four, played by the Orion String living composer, Elliott Carter. Cele- as the Sonata for Flute, Oboe, Cello & Quartet. Quartet No. 4 was written in bratory concerts took place in many Harpsichord (1952), Enchanted Preludes 2007 (when the composer was 87— venues, including Carnegie Hall in (1988) for flute and ’cello, Esprit a veritable youngster compared to New York. There the Boston Sym- rude/esprit doux (1985) for flute and Carter). The composer Allen Shawn phony, led by James Levine, played a clarinet, or the Oboe Quartet (2001) has described that quartet as new work by Carter, Interventions for may hold special interest. “luminous and passionate,” words apt piano and orchestra. The soloist was If you missed Charlie Rose’s to describe much of Kirchner’s output. another well-known conductor, Daniel excellent interview (broadcast on Speaking of contemporary music, Barenboim, who is no mean hand at December 10) with Carter, Levine and I have been spending pleasant hours the keyboard, to say the least. Barenboim , you can see it at perusing the Catalog of Contemporary www.charlierose.com/view/ Blockflute Music, available online at interview/9774—essential viewing www.blokfluit.org from Stichting for fans of contemporary music. Blokfluit. This Netherlands founda- We note with sadness the passing tion offers a contemporary recorder on January 23 of another distin- catalog and a catalog of historical guished American composer, George recorder music. Access to both is by Perle. An authority on the music of free membership. Alban Berg and the Second Viennese For those who haven’t yet used the School, Perle developed a unique contemporary catalog, I urge you to lyrical style based upon a free approach give it a try. You can search by many to 12-tone and serial procedures, parameters such as composer, title or which he dubbed “12-tone tonality.” specific instrumentation. A search for I recommend listening to his Serenade “” turned up a list that No. 3 for Piano & Orchestra (1983), included Moon Dances: Three American Six Etudes for Piano (1973-76), Sketches by composer Walter Mays Elliot Carter and the Pulitzer Prize-winning (intended for solo alto recorder, but (photo by Meredith Heuer) Wind Quintet No. 4 (1985). also playable on tenor or voice flute). Another leading American com- Searching the name of English com- It’s remarkable that wonderful poser, Leon Kirchner, is thankfully poser Edmund Rubbra produced a list new compositions continue to pour still with us, having turned 90 on of eight works that employ recorders, forth from Carter’s pen. His music January 24. Like Perle, Kirchner has including the intriguing Cantata sparkles and frolics, packing lots a highly personal and expressive style. Pastorale, opus 92, for high voice, alto of musical events into engrossing A birthday concert was held at Miller recorder, ’cello and harpsichord. structures. Much of his music is Theater at Columbia University in Searching “female composers” for available on CD, so if you missed the New York City, NY. Participating a piece using “Baroque alto” yielded celebrations, you can easily have your musicians included flutist Paula After Meditation by Ros Bandt of own belated birthday party for Carter. Robison, pianist Jeremy Denk and the Australia. Although he has never written Claremont Trio, with the composer What an easy and tremendously for recorder (one of our prominent present to discuss his music. valuable way to find new music!

www.AmericanRecorder.org March 2009 31 Q & A ______Renaissance recorder fingering uestion: How does Renaissance Our present-day “regular” because it was developed from Qfingering differ from standard recorders are Baroque-derived instru- historical Baroque fingering by Arnold fingering on the recorder? Is one superior to ments based loosely upon surviving Dolmetsch in England during the the other? Do you need a special recorder to recorders from the late 17th and early early 20th century. Renaissance use Renaissance fingering, and if so, can it 18th centuries. They are three-piece fingering is less standardized, partly be played with regular recorders? Is there a instruments with small toneholes and a because a number of different original fingering chart that shows Renaissance bore that is narrower and more instruments are used as models and fingering?—William Baumann, tapering than a Renaissance bore, partly because makers wish to improve Waterford, WI extending their useful range upward to the intonation, tone quality, and/or two plus a whole tone. playability of certain notes. However, nswer from Carolyn Peskin: Baroque recorders are soft and the following generalizations apply to A Music composed in the sweet-sounding in their bottom octave, many of today’s Renaissance-style Renaissance, the historical period but louder and brighter in the second consort recorders. extending from about 1450 to 1600, octave. Their lowest notes are espe- First, in the lower octave, modern was predominantly vocal and highly cially weak because they must be blown Baroque fingering works for most contrapuntal. Recorders, which often gently to prevent into the notes but is often too flat for the doubled singers at the octave or second octave. Such instruments are fourth scale degree (e.g., soprano F), rendered vocal pieces instrumentally, suitable for Baroque solo and chamber requiring removal of finger 7 (right- were designed to make the individual repertoire, but not very satisfying for hand pinky), and is too sharp for the  melodic lines clearly audible. Renaissance polyphony. raised fourth degree (e.g., soprano F ), Most 16th-century consort Due to their different and requiring addition of finger 7. recorders were one-piece instruments volume, Renaissance recorders will Modern fingering is also usually with large toneholes and a wide bore not blend well with Baroque ones. too sharp for the lowered seventh  that contracted slightly starting near Furthermore, the most historically degree (e.g., soprano B ). The correct the upper fingerholes and then authentic Renaissance-style recorders fingering for that note varies from one expanded gently near the lowest holes. are tuned in a “meantone” instrument to another. That “choke-bore” design, together temperament that facilitates the playing In the upper octave, modern with the voicing and tonehole con- of pure major thirds. Such instruments fingering works for the first, third and figuration, favored the fundamental make Renaissance music easier to play fifth scale degrees (e.g., soprano C, E tone (first harmonic), producing a in tune but will produce intonation and G) but usually not for other notes. strong, open sound that was about problems if played with Baroque Some notes require half-holing with a equally loud throughout the recorders, which are tuned in equal right-hand finger, and notes above the instrument’s range. temperament. For the above reasons, fifth scale degree may require addition Such recorders had a useful range Renaissance and Baroque recorders of several fingers to bring them in tune. of only about an octave plus a sixth, should not be played together. Historical Renaissance fingering for which was, nevertheless, sufficient Renaissance fingering will the second scale degree (e.g., soprano for the music of their day. Most not work on today’s neo-Baroque D) is especially awkward because all of Renaissance-style consort recorders recorders—most of which have the fingerholes and the thumbhole made today are based loosely upon “modern” Baroque fingering, must be uncovered. Therefore, some surviving 16th-century instruments of commonly called “English” fingering makers substitute modern fingering for the above type and are designed to that note. approximate the range, timbre and Send questions to Carolyn Peskin, Q&A Editor, Although Renaissance fingering 3559 Strathavon Road, Shaker Heights, OH volume of those early instruments. 44120; [email protected]. and meantone tuning are recom- mended for the best blend, some

32 March 2009 American Recorder However, wide-bore consort Our present-day “regular” recorders are recorders with a range of at least two Baroque-derived instruments based loosely octaves and modern fingering should also be regarded as transitional upon surviving recorders from the instruments. They differ somewhat in late 17th and early 18th centuries. timbre and volume from typical Renaissance consort recorders. makers of handcrafted Renaissance recorders will provide modern fingering Handmade wide-bore and/or equal temperament upon request, and Moeck Verlag offers a choice of recorders—consort, Ganassi and Renaissance or modern fingering for most sizes of its factory-produced transitional—are obtainable from Renaissance Consort series. makers who advertise in American For a most satisfying blend, Renaissance ensembles should purchase a Recorder: the Prescott Workshop and matched set of recorders, tuned and voiced to be played together. Renaissance the Von Huene Workshop in the U.S., consort sets usually include two different alto recorders, one in G (lowest note g') Jean-Luc Boudreau in Canada, and and one in F (lowest note f'). The ATTB combination with the G-alto is best for Stephan Blezinger in Germany. most of the quartet music composed between 1450 and 1550, while the SATB Contact them and/or visit their web combination with the F-alto is more practical for much late 16th-century sites to find out what kinds of repertoire. (Playing the G-alto requires learning G-alto fingering, or else recorders they are currently making transposing the alto line down a whole tone and using F-alto fingering.) and to get an idea of their prices and In addition to consort recorders, some makers offer “Ganassi” and wait times. based upon fingering charts in Silvestro Ganassi’s recorder tutor Fontegara, Factory-produced wide-bore published in 1535, and a single original instrument in the Vienna Kunst- recorders from Kobliczek, Moeck and historisches Museum. Because of their special bore design (cylindrical with a Mollenhauer are available from flaring bell), Ganassi recorders have a range of two octaves and a sixth, with instrument dealers who advertise in cumbersome fingerings in the third octave. They are used mainly as solo AR. New and used recorders, instruments for playing intricate ornaments of the type found in Fontegara. including wide-bore models, from Also sometimes included in the “Renaissance” category are “transitional” important makers in the U.S. and (early Baroque) recorders, which are based upon originals from the first half of abroad are also obtainable from Uni- the 17th century. They have a bore that is wider than a Baroque bore but contracts corn Music. For further information, sharply near the lower end, resulting in strong low notes and at least a full two- visit www.buyrecorders.com. For octave range, usually with modern fingering. Most transitional recorders are a comprehensive database of recorder sopranos or altos designed for playing Jacob van Eyck’s variation sets or the makers worldwide, see Nicholas S. highly ornamented Italian solo repertoire of the late-16th and early-17th Lander’s “Extant Recorder Makers centuries. & Retailers” at www.recorder homepage.net/makers.html.

REFERENCES CONSULTED Bauer, Winfried. www.recorder-fingerings.com. Includes interactive fingering charts from modern makers and historical treatises. Charts for Renaissance consort recorders by Adriana Breukink, Adrian Brown, Bob Marvin and Tom Prescott were consulted. Brown, Adrian. www.adrianbrown.org/rec order_types/consort.html.

www.AmericanRecorder.org March 2009 33 An informative article about references on construction and recorder sizes in Renaissance design of historical recorders. consorts. Levin, Philip. “Q&A,” American Brown, Adrian and David Lasocki. Recorder, Vol. XXXVIII, No. 4 “Renaissance Recorders and (September 1997), p. 27. Their Makers,” American Explains in simple terms the Recorder, Vol. XLVII, No. 1 difference between Renaissance (January 2006), pp. 19-31. and Baroque recorders. An important article based Morgan, Fred. “A Recorder for the upon Brown’s extensive research Music of J.J. van Eyck,” on 120 of the 200 surviving American Recorder, Vol. XXV, 16th-century recorders. No. 2 (May 1984), pp. 47-49. Ganassi, Silvestro. Opera Intitulata Describes the bore design of a Fontegara. Ed. Hildemarie Peter recorder suitable for playing (Berlin-Lichterfelde: Robert Van Eyck’s variation sets and Lienau, 1959). Modern edition of compares it with bore designs of the oldest known treatise devoted other types of recorders. entirely to the recorder (published Myers, Herbert W. “Recorder” in 1535). Includes 16th-century chapter in A Performer’s Guide to fingering charts. Renaissance Music, ed. Jeffery Griscom, Richard and David Lasocki. Kite-Powell (New York: Schirmer The Recorder: A Research and Books, 1994). A 2nd edition is Information Guide (New York and now available, published in 2007 London: Routledge, 2003). An by Indiana University Press. annotated bibliography including The Von Huene Workshop, Inc. is pleased to announce agreements with 7KH7 Coolsma Zamra to serve as their authorised service agents in the U.S.

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

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

34 March 2009 American Recorder Order your recorder discs through the ARS CD Club!

The ARS CD Club makes hard-to-find or limited release CDs by ARS members available to ARS members at the special price listed (non-members slightly higher). All CDs are $15 ARS members/$17 Others unless marked otherwise. Two-CD sets are $24 ARS members/$28 Others. Add Shipping and Handling: $2 for one CD, $1 for each additional CD. An updated listing of all available CDs may be found at the ARS web site: .

FEATURING MUSICA PACIFICA, ____SACRED AND SECULAR MUSIC FROM JUDITH LINSENBERG, RENAISSANCE GERMANY Ciaramella-Adam & Rotem Gilbert, Doug Millikan, Debra Nagy, ____LES RECORDERS recorders, with other winds, , sackbut & AMIS DU ____J.S. BACH TRIO SONATAS Arr. by organ. Medieval & Renaissance sacred music with BAROQUE Linsenberg from Trio Sonatas for Organ BWV525- reconstructions of folksongs & arrangements based Paul Nauta, recorder & 530: Sonata No. 1 in E major (transp. to B ), on contemporary improvisation. Baroque flute; Koen Dieltiens, recorder. Music by BWV 525; Sonata No. 2 in C minor (transp. to E), ____BURIED TREASURE: TOPAZ & SAPPHIRE Bassani, Corelli, Vivaldi, etc. Highlight Intl. BWV526; Sonata No. 3 in D minor (transp. to G), Ensemble Vermillian. Frances Blaker, recorders; ____LES SEPT SAUTS: BAROQUE CHAMBER BWV 527; Sonata No. 4 in E minor, BWV 528; Barbara Blaker Krumdieck, 'cello; Elisabeth Reed, MUSIC AT THE STUTTGART COURT Matthias Sonata No. 5 in (transp. to F), BWV529; gamba; Katherine Heater, harpsichord & organ. Maute & Sophie Larivière, recorders & traverso; Sonata No. 6 in G major (transp. to C), BWV 530. Transcriptions of Buxtehude's Op. 1, other pieces by Ensemble Caprice. Charming repertoire by Virgin Classics Veritas, 1993. Buxtehude, works by Biber, Johann Schop, Schwartzkopff, Bodino, Detri. Atma Classique. ____FIRE BENEATH MY FINGERS Showcases Schmelzer. Fafarela, 2007. ____TASTE OF PORTIQUE L'Ensemble Portique. three legendary composers who were also ____STOLEN JEWELS Ensemble Vermillian: Early and contemporary chamber music— virtuoso performers. Vivaldi, Concerto in F major, Frances Blaker, recorders; Barbara Blaker Bach, Telemann, Boismortier and others. after RV 98/570 “La Tempesta di Mare”; Sonata in Krumdieck, Elisabeth Reed, Katherine Heater. 17th- ____TELEMANN ALLA POLACCA REBEL– A minor, RV86; Concerto in G minor, RV106; Con- century German music adapted by Blaker: "I love b Matthias Maute, recorders & traverso– certo in B major, RV503; Sammartini, Concerto in violin music... so I steal the music and rearrange it plays concerti and suites by G.P. Telemann. Dorian. F major; Tartini, Concerto in A major, D91. Dorian. for my own instrument.” Buxtehude Op. 1, Biber, ____TELEMANN CANONS AND DUOS Lisette ____MANCINI: CONCERTI DI CAMERA Seven Rosenmuller, Krieger, JM Bach. Fafarela Kielson & Patrick O'Malley, recorders; L'Ensemble sonatas by Francesco Mancini, plus one work each Recordings. Portique. Telemann, Canons mélodieux & Sonates from his contemporaries Francesco Durante & ____SENFL (LUDWIG) Farallon Recorder Quartet sans basse. 2-CD set. LEP Records, . "Highly recommended" citation (Letitia Berlin, Frances Blaker, Louise Carslake, ____20TH CENTURY MUSIC FOR RECORDER & from the 2000 Vivaldi Prize for Recordings of Italian Hanneke van Proosdij). 23 lieder, motets and PIANO Anita Randolfi, recorders. Music by Jacob, Early Music--Giorgio Cini Foundation. Dorian. instrumental works of the German Renaissance. Bartok, Leigh, others for recorder & piano. ____MARAIS, MARIN: PIÈCES EN TRIO POUR ____DOLCE MUSICA– A CONTEMPLATIVE ____VIVALDI AND THE BAROQUE GYPSIES LES FLÛTES, VIOLON & DESSUS DE VIOLE JOURNEY Eileen Hadidian,flutes, recorders; Matthias Maute & Sophie Larivière, recorders; Marais's complete works for two treble lines and Natalie Cox, . Celtic, Renaissance and Ensemble Caprice. Gypsy music taken from bass with varied instrumentation and orchestrations. Medieval melodies for recorder and flute with Uhrovska zbierka (now Slovakia), plus Vivaldi. 2-CD set $24. Celtic harp. Healing Muses, 2005. ____VIVALDI: SHADES OF RED; & ____SCARLATTI: CONCERTI DI CAMERA ____REFLECTIONS, MUSIC TO SOOTHE AND SONATAS FOR RECORDER & STRINGS Matthias Seven sonatas for various instrumentations, "no UPLIFT THE SPIRIT. Eileen Hadidian, recorder & Maute, recorders; REBEL. Stylish, high octane poor relations to the composer's much more widely- Baroque flute, with Celtic harp and 'cello. Celtic, readings of some of Vivaldi's most beloved pieces, known vocal output.... All recorder players should traditional, Renaissance & Medieval melodies. including the popular and raucous Concerto alla certainly have this...!"–Early Music Review. Healing Muses. Rustica, stunningly colorful Sonata on La Follia, and ____TELEMANN CHAMBER CANTATAS ____AN EVENING WITH BACH Voices of Music: four exuberant recorder concerti. Bridge. Five cantatas from Harmonischer Gottesdienst, two Hanneke van Proosdij, Louis Carslake, Dan Laurin, ____WINDFIRE Charmaine Delmatier, recorder; sonatas from Sonatas Corellisantes. 2003 Chamber recorders; Joanna Blendulf, Elizabeth Blumenstock, Steve Kostelnik, classical guitar; Terry Hale, bass; Music America/ WQXR Record Award for best Rodney Gehrke, Lisa Grodin, Katherine Kyme, Erik Hokkanen, violin. Refreshing mixture of Andrew chamber music recordings. Jennifer Lane, Victoria Gunn Pich, Susanne Ryden, Lloyd Weber, American blues, flamenco, Celtic, and ____VIVALDI: LA NOTTE Concerti per strumenti William Skeen, David Tayler. Renaissance and one original piece. . diversi. Award-winning CD, featuring five Vivaldi Baroque music centers on fine singing. Instantly concerti, two sonatas. recognizable Air on a G String, Bach’s Prelude in Please indicate above the CDs you wish to order, and print clearly the following: G Major (solo for ’cello), plus vocal Name ______performances—Ryden’s weightless soprano on ... AND OTHER RECORDING Daytime phone: (_____)______Bist du bei mir, Lane’s rich alto on Es is vollbracht. ARTISTS FROM CALIFORNIA! Address:______BACH & TELEMANN SONATAS, PRELUDES ____CORELLI, ARCANGELO: CONCERTI City/State/Zip: ______& FANTASIAS Voices of Music (Hanneke van GROSSI OPUS 6 American Bach Soloists, Jeffrey Check enclosed for Proosdij, Joanna Blendulf, Rodney Gehrke, William Thomas, conductor; Dan Laurin, Hanneke van _____ single CDs x $____ = $______Skeen, David Tayler) Beautiful chamber music by Proosdij, recorders. "Christmas Concerto" featuring _____ 2-CD sets x $____ = $______Bach and Telemann. unique 1725 London version with solos transcription TOTAL $______for two recorders, instead of two solo violins, in Please charge the above amount to my three of the six concertos. Delos. IN STOCK (Partial listing) MasterCard, Visa or AmEx: ____CANÇONIÈR Annette Bauer, recorder; #______ALLA TURCA: FUX CALDARA BADIA multi-instrumentalist Tim Rayborn; Shira Kammen, Exp. Date: ______Matthias Maute & Sophie Larivière, recorders; strings; Phoebe Jevtovic, voice, in a new early Cardholder’s signature: ______Monika Mauch, soprano. Vocal music of the church music group devoted to repertoire from the accompanied by Ensemble Caprice, plus sonatas Mail to: 12th–15th centuries, as well as traditional music and other instrumental pieces. Analekta. ARS, 1129 Ruth Dr., St. Louis, MO 63122-1019 U.S. from related regions (the Balkans, Scandinavia, ____CORELLI, ARCANGELO: CONCERTI Middle East). Medieval instrumental music played You may fax a credit card order to 314-966-4649. GROSSI OPUS 6 John Daniels, Sonja Lindblad, on a variety of instruments, including strings, NEW! You may order CDs online using PayPal at recorders; Peter Sykes, harpsichord. Trio sonata recorders, and percussion. Medieval dances and www.americanrecorder.org/order/cdroms.htm. arrangement by Johann Christian Schickhardt. motets bring to life the rich world of ancient European music-making. Chapters & Consorts ______Workshops and activities from ______coast to coast, in the U.S. and Canada The first meeting of the newly-formed Last fall, at the request Fort Myers Recorder and Early of a student, Kay Hettich Music Ensemble was January 26 at (inset, below right) taught a the Florida home of chapter rep Sue beginning recorder class at Groskreutz. For this year, the group the Redding (CA) Senior is somewhat loosely organized and Center. The five-week plans to meet for extended sight- class was so successful that reading. Repertoire at the first meeting most participants have comprised everything from Renais- formed a bi-weekly novice sance duets to chamber music involv- ensemble (right) coached ing three treble parts and continuo. by Hettich—who consid- Among the five musicians ers them her “hatched attending the first meeting (photo eggs.” preparing a spring concert called below, front row: Elizabeth Spang, Sue A new batch of “eggs” “England’s Golden Age.” Groskreutz; back row: Suzanne Ferguson, started to incubate when a Repertoire spans the 16th century, Sibylle Baumgartner, Arlene Sowka), all five-week class began on February 20. from Henry VIII’s accession in 1509 played recorder, three harpsichord, Other senior center members have to the death in 1603 of Elizabeth I, become interested as they heard of and includes solo songs, four- and their colleagues’ success. These novice five-part settings of Renaissance players comprise some who previously dances (with dancers!), three- to five- read music and played instruments, voice madrigals, and “big-band” as well as people who are totally arrangements of ’s The new to music notation. Bells and The Dargason as re-imagined One student has also formulated a by Gustav Holst (further re-imagined maxim: “Everyone at age 40 ought to for recorders and percussion). learn to play the recorder, if he/she Of the 15 collegium members, hasn’t already.” Just think how the seven are encountering the recorder world would be transformed by for the first time since elementary shifting our focus to music! school. The Collegium Musicum After Lynn Whidden attended promotes the study of early music the Montréal Recorder Festival last at the university, and is open to the and one each played traverso, violin fall, when the ARS Board met in university community and the general and gamba. Due to the scarcity of Quebec, she joined the ARS and now public. This year there are five com- recorder players south of the Sarasota relays news of the lively interest in the munity participants, with interest from area, modern string players are also recorder exhibited by a group under several more, both within and outside incorporated into this ensemble. the new leadership of Brent Legg of of the university. For information, The group decided not to charge Brandon University in Manitoba, contact [email protected]. dues and to meet at Groskreutz’s Canada. Although his hands were January 16 marked the third home. For more information, please “still partly frozen,” he wrote that the annual recorder workshop of three contact Groskreutz at 239-267-1752, Brandon University Collegium Florida groups: the Pasco Collegium [email protected]. Snowbirds Musicum, in collaboration with the Recorder Consort of Hudson; the drifting through the area are welcome! Waverley Park Recorder Club, is Imperial Recorder Consort of

36 March 2009 American Recorder Members A Muse in the Desert of three The sound of a pin dropping … the Florida sound of eager minds and fingers groups absorbing information and inspira- met tion … the sounds of “Nueva in January España,” Spanish- and indigenous- for a joint influenced music of the 1600s in the workshop New World. These were the sounds of the Desert Pipes (Phoenix, AZ) Lakeland; and the Pilgrim Pipers Recorder Consort of St. Petersburg. They chapter’s fall workshop given by gathered for a morning, tackling selections by Banchieri, Monteverdi, Purcell, Eileen Hadidian. On a Saturday Corelli, Mendelssohn, Bach, Mozart and Glen Shannon. Each group presented last October, 30 players from all over a piece for the other participants: Sweet Georgia Brown by Ben Bernie (St. Pete); Arizona gathered to learn from and a Sonata by Sammartini (Lakeland); and The Gospel Train, arr. by K.W. Ford be inspired by the founder of a San (Pasco). The 29 participants were led by Marlene Cracraft (Pasco), Jane Francisco Bay Area group dedicated Spencer (Lakeland) and Elizabeth Snedeker (St. Pete). to sharing music for healing in Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula healthcare settings, Healing Muses Recorder Orchestra in Cupertino, CA. The 30 players started with Gregorian (www.healingmuses.org). chants written in “old” notation. Bickley gave basic instruction on how to The day began with relaxation, interpret the notes, and then had the group sing the chants prior to playing them. stretching and breathing exercises, The workshop theme of “The Articulate Recorder” was literally played followed by travels to Perú, Mexico, out as the music presented used variations in tonguing, phrasing and breathing. Guatemala and Colombia—high Other repertoire included a Kyrie by Tomas Luis de Victoria; Bach’s Jesu, Joy of church music, vernacular pieces, and Man’s Desiring; a double-choir piece by Gabrieli; ’s In Nomine a mixture of the two. Participants XIII; and a Purcell chaconne. The workshop ended with a rhythmically- enjoyed the historical and contextual challenging minimalist piece by Bickley entitled Beginning, composed for the background provided as an overview Waldorf School teacher training program. George Greenwood reports that the for the day and for each piece. group had a productive event and plans to ask Bickley to a future workshop. Remarkably, the sound heard between pieces and passages was an energy-filled quiet, the attentive stillness of active engagement in the workshop experience—not the chat- tering, noodling and conversations that often occur when the music stops. That activity was reserved for the breaks, when participants could enjoy the cool (at last!) outdoors, chat with Hadidian, and peruse the popular garage sale (to benefit Desert Pipes) of previously-enjoyed books and other treasures. CHAPTER NEWS On Sunday, Hadidian shared Chapter newsletter editors and publicity officers should send materials for publication to: her expertise and inspiration in indi- American Recorder, 7770 South High St., Centennial, CO 80122-3122, [email protected].. Also send short articles about specific activities that have vidual and group coaching sessions. increased chapter membership or recognition, or just the enjoyment your members get out of The weekend was a special experi- being part of your chapter. Digital photos should be at least 3”x4”x300dpi TIF or ence, and Desert Pipes members unedited JPG files. Please send news to the AR address above, and to the following: look forward to the next visit of ARS Office, 1129 Ruth Drive, St. Louis, MO 63122-1019, [email protected]; this Healing Muse. and to Bonnie Kelly, Chair, Chapters & Consorts Committee, Ann Koenig, Scottsdale, AZ, 45 Shawsheen Rd. #16, Bedford MA 01730, [email protected]. [email protected]

www.AmericanRecorder.org March 2009 37 Response ______Two kinds of vision, ______the better to see with, and (not) to hear with

TO THE STARS ... LOCATING EARPLUGS MORE FROM CAROLYN ... AND BEYOND I read with interest the Q&A in the THIS TIME ABOUT OSKAR The cover of the November magazine November ‘08 AR regarding hearing In the September 2008 AR, the music generated a few comments. Some weren’t loss and use of earplugs. Where do review by Leslie Timmons of the Oskar sure how to interpret the title (in the you get musician’s earplugs? pieces by Matthias Maute mentioned artist’s native German, it could be Dolly Hirata, Kensington, CA that Carolyn Peskin had translated two something close to “starlit moon”). of the Oskar books from German to Longtime member Carolyn Peskin CAROLYN PESKIN PROVIDED THIS English. People can obtain the wrote to offer her vision of that cover: INFORMATION: Musician’s earplugs are translations free of charge as Word custom made for individual users. attachments by contacting her at: In the beginning the Great Spirit They can be purchased only from Carolyn Peskin, 3559 Strathavon invented Mr. Sun to light the day and licensed hearing professionals (i.e., Road, Shaker Heights, OH 44120, Miss Moon to light the night. audiologists and hearing instrument [email protected]. However, as Miss Moon floated up in specialists). To find a licensed hearing the sky all by herself, like a big yellow professional in your area, look under ANOTHER KIND OF balloon, she began to feel very lonely, “audiology” or “hearing” in your local MUSIC-READING so one night, to relieve her loneliness, yellow pages. GLASSES she decided to take out her recorder For information about how musi- In the January 2009 issue of American and make music. cian’s earplugs are produced, visit Recorder, there’s something (in my But when she started to play, www.etymotic.com/ephp/erme-w opinion) the “Recorder with Glasses something miraculous happened. tb.aspx. That web page also has a link Obbligato” article omitted which can Not only beautiful melodies, but also to contact information for authorized enable a nearsighted musician to avoid yellow dust poured out of the bottom labs that make the custom earmolds for neck strain in the use of bifocals. of her recorder, and the dust particles musician’s earplugs. If the yellow pages I’ve found the solution to this immediately coalesced to form yellow do not prove helpful, those labs can vexing problem is to have one’s bifocals stars. As she continued playing, more refer you to a licensed hearing pro- constructed differently [from] normal. and more stars were created, and they fessional in your area from whom you My optometrist was willing to work floated up around her, filling the night can purchase musician’s earplugs. sky. At last Miss Moon was happy, for not only was she herself able to enjoy her music, but she now had a whole crowd of starry companions to enjoy it with her. And if you listen very care- fully on a quiet night, you might be Honeysuckle Music able to hear her recorder and that starry choir humming along. Recorders & accessories Carolyn Peskin ... Music for recorders & viols

Jean Allison Olson Responses from our readers are welcomed 1604 Portland Ave. and may be sent to American Recorder, St. Paul, MN 55104 7770 South High St., Centennial, CO 651.644.8545 80122. Letters may be edited for [email protected] length and consistency.

38 March 2009 American Recorder There are lots of ARS Membership Enrollment and Renewal solutions to the ‰ I am a new member ‰ I am or have been a member presbyopic musician’s U.S./Canadian Memberships Foreign Memberships problem, but all ‰ $45 One Year ‰ $55 Foreign One Year ‰ $75 Sustaining (Receive a Hottetere Hands Pin) ‰ $100 Two Years involve compromises. ‰ $80 Two Years LIFETIME MEMBERSHIP with me [to find] an ideal (for me) Single Dual Regular Lifetime Member $1,000 (2) $1,500 (4) placement, size, and focal length of the 4 installments of $250 available) bifocal lens. Loyalty Lifetime Member (1) $ 800 (3) $1,200 (4) 4 installments of $200 available Before visiting the optometrist, (1) For members who have maintained membership for five consecutive years. I’d had my wife measure the distance (2) $750 is Tax Deductible (3) $600 is Tax Deductible from my eyes to the music on my (4) Installments available music stand. With this measurement, Student Memberships Other Memberships the optometrist set up her machine to (Enclose proof of full time enrollment) ‰ $65 One Year Workshop Membership prepare a vision prescription for me ‰ $25 U.S./Canadian One Year ‰ $125 One Year Business Membership ‰ $45 U.S./Canadian Two Years maximized for this reading distance. ‰ $30 Foreign One Year ‰ $5 Additional Charge for Dual Address or Dual Name When I look at my bifocals (with ‰ Do not list my name in the ARS Print Directory them off), the lenses (through which I ‰ Do not list my name on the ARS Online Directory read my music) occupy most of the ‰ Do not release my name for recorder related mailings ‰ Do not contact me via email. lower two-thirds of my glasses (they are set very high, and begin ‰ My address, telephone and email address are the same as last time. immediately at the inner rims). This ______leaves the upper third, and small Name Phone Number portions of the outside [of each lens] ______Address/City/State/Postal Code Email Address for focusing on the conductor. As long as my stand is set low enough, my neck Please charge to: (Circle one) VISA/MasterCard/AMEX/Discover never experiences any strain (even if I CC#:______Expiration Date: ______have to read three to a part), and ... Signature of cardholder:______I’ve no problem in seeing the conductor (in sharp focus) either. Clearly Print Name as it appears on Card:______Renew by Mail, Online, By Phone or by Fax For me, trying to use glasses [to read] from a music stand, [that] were Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers): designed for use in reading from a computer screen, also results in neck I am a member of ARS Chapter or Consort______‰ I am the Chapter Contact strain (not to mention unreliability in a Your age: ‰ Under 21 ‰ (21-30) ‰ (31-40) ‰ (41-50) ‰ (51-60) ‰ 61-70) ‰ (71+) “pressure” situation). Having studied Tai Chi extensively, and so being Please check all that apply: ‰ I am a Professional Recorder Performer.

‰ I wish to be included in the list of Recorder Teachers in the ARS Directory and website. I Teach: (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Children’s Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly

Where I Teach: : (circle your choices) Music Studio Public or private school Community Music School College Other : ______

Phone: 314-966-4082 American Recorder Society Fax: 314-966-4649 1129 Ruth Dr. TollFree: 800-491-9588 St. Louis MO 63122-1019 [email protected] www.AmericanRecorder.org

www.AmericanRecorder.org March 2009 39 American Recorder Society Publications Erich Katz Contemporary Music Series Members Non-Members acutely aware of any kind of neck A Short Tale for Two Basses Suzanne M. Angevine (Level II) (2 scores) $5 $8 Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score & parts) $10 $18 strain when it begins to develop, Dorian Mood Sally Price (SATB) (Level II) (score & parts) $10 $18 these ideas have been a big help to me. Double Quartet for Recorders Peter Ballinger (Level II-III) (score & parts) $10 $18 Entrevista Frederic Palmer (SATB) (Level II) (2 scores & 4 recorder parts) $8 $14 I’m hoping they may be of help to Kyrie and Vocalise for Soprano Voice &Recorders Stanley W. Osborn $8 $14 (SATB) (Level II) (2 scores & 4 recorder parts) other musicians as well. Picnic Music Jeffrey Quick (SATB) (Level II) (score & parts) $5 $8 Six Short Pieces for Three Recorders edited by Alan Drake $8 $14 Best wishes to you. And, in (3 scores) Vaclav Nelhybel (AA/TT) (Level II) Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12 answer to your question—yes, the new (Level II) (2 scores) Sonatine for Three Altos Lee Gannon (Level III) (score & parts) $14 $26 [AR] format (with more white space Suite of Jewish Folk Tunes Erich Katz (S S/A8 A/T) (Level II) (three scores) $10 $18 between the lines) is much easier to Musical Editions from the Members’ Library: ARS members: 1 copy-$3, 2 copies-$4.50, 3-$6, 4-$7.50, 5-$10, 6-$11.50 read (in my opinion)....Your magazine Non-members (editions over 2 years old): 1 copy-$5, 2 copies-$8.50, 3-$12, 4-$15, 5-$19.50, 6-$23 just keeps getting better and better . The ARS is happy to provide photocopied enlargements of any Members’ Library edition at the same prices. Please specify “Members’ Library Enlargement.” Very sincerely, Ed Green, West Arioso and Jazzy Rondo (AB) Carolyn Peskin Los Pastores (S/AAA/T + perc) Virginia N. Ebinger, arr. Suburban (Chicago-area) Chapter Berceuse–Fantaisie (SATB) Jean Boivert New Rounds on Old Rhymes (4 var.) Erich Katz Bruckner’s Ave Maria (SSATTBB) Other Quips (ATBB) Stephan Chandler Jennifer W. Lehmann, arr. Poinciana Rag (SATB) Laurie G. Alberts Canon for 4 Basses (BBBB) David P. Ruhl Santa Barbara Suite (SS/AA/T) Erich Katz RESPONSE FROM DR. BILL LONG: Dancers (AT) Richard Eastman Sentimental Songs (SATB) David Goldstein, arr. Different Quips (AATB) Stephan Chandler Serie for Two Alto Recorders (AA) Frederic Palmer What Ed describes is a variant of the Elegy for Recorder Quartet (SATB) Carolyn Peskin Slow Dance with Doubles (2 x SATB) Colin Sterne Elizabethan Delights (SAA/TB) Sonata da Chiesa (SATB) Ann McKinley use of conventional bifocals as music Jennifer W. Lehmann, arr. S-O-S (SATB) Anthony St. Pierre Fallen Leaves Fugal Fantasy (SATB) Dominic Bohbot Three Bantam Ballads (TB) Ann McKinley glasses, described on page 8 in the Four Airs from “The Beggar’s Opera” (SATB) Three Cleveland Scenes (SAT) Carolyn Peskin Kearney Smith, arr. Three in Five (AAB) Karl A. Stetson article. Instead of lowering his music Gloria in Excelsis (TTTB) Robert Cowper Tracings in the Snow in Central Park (SAT) Idyll (ATB) Stan McDaniel Robert W. Butts stand into the field of view of his Imitations (AA) Laurie G. Alberts Trios for Recorders (var.) George T. Bachmann bifocal segment, Ed and his optome- In Memory of Andrew (ATB) David Goldstein Triptych (AAT/B) Peter A. Ramsey Lay Your Shadow on the Sundials (TBgB) Two Bach Trios (SAB) William Long, arr. trist have fabricated special purpose Terry Winter Owens Two Brahms Lieder (SATB) Thomas E. Van Dahm, arr. LeClercq’s Air (SATB) Richard E. Wood Variations on “Drmeš” (SATB) Martha Bishop bifocals with the segment really high Little Girl Skipping and Alouette et al (SATBCb) Vintage Burgundy (S/AS/ATT) Timothy R. Walsh Jennifer W. Lehmann, arr. so he can focus on his music in ARS Information Booklets: straight-ahead view. That approach ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 Non-members: 1 booklet-$18, 2 booklets-$33, 3-$44, 4,$55, 5-$66, 6-$76, 7-$86 restricts his distance vision to an area Adding Percussion to Medieval and Improve Your Consort Skills Susan Carduelis above his usual line of sight, which Renaissance Music Peggy Monroe Music for Mixed Ensembles Jennifer W. Lehmann American Recorder Music Constance Primus Playing Music for the Dance Louise Austin seems to work for Ed's playing setup. Burgundian Court & Its Music Judith Whaley, coord. Recorder Care Scott Paterson Ed's comments on the difficulties Education Publications in using conventional progressive The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). First copy free to ARS Members (mailed to new members as they join); replacement copies, $3. addition lenses as music lenses con- Guidebook to the ARS Personal Study Program (1996). Material formerly published in the Study Guide and Study Guide Handbook, plus additional resources. Members, $11; non-members, $20. firm what I said on page 9. That's why ARS Music Lists (2002 with 2003 Supplement). Graded list of solos, ensembles, and method books. Members $9; non-members, $15. manufacturers have marketed special- Package Deal available only to ARS members: Guidebook and Music Lists/Supplement ordered together, $16. Junior Recorder Society Leader’s Resource Notebook. ty progressive lenses designed specif- ARS members, $20; non-members, $40 (updates at reduced rates after initial purchase). $5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+). ically for intermediate distance tasks like computer use and playing music. Videos Recorder Power! Educational video from the ARS and recorder virtuoso John Tyson. There are lots of solutions to the An exciting resource about teaching recorder to young students. ARS members may borrow a copy for one month by sending $5 to the ARS office along with the address to which the tape should be shipped. presbyopic musician's problem, but Pete Rose Video. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recital. Features Rose performing a variety of music. and an interview of him by ARS member professional John Tyson. all involve compromises. The key to Other Publications evaluating those compromises and Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering forming an choosing the best solution for yourself ARS chapter. ARS members, $10; non-members, $20 (updates free after initial purchase). One free copy sent to each ARS chapter with 10 members or more. is to understand your needs and to Consort Handbook. Resource on consort topics such as group interaction, rehearsing, repertoire, performing. ARS member prices: CD, $10; hard copy, $20; combo price of CD and hard copy ordered together, $25. enlist the help of a sympathetic vision Discography of the Recorder, Vol. I (1989) . Compiled by Scott Paterson and David Lasocki. Discography of the Recorder, Vol. II (1990-1994) . Compiled by Scott Paterson. care specialist—just as Ed did. Either single volume: ARS members $23; non-members, $28. Both Discography volumes together: ARS members only, $40. Please change your American Recorder: Cumulative Index for Vols. I-XXXX. ARS members, $20; non-members, $32. Index Supplement, Vol. XXXIV-XXXX. ARS members, $8; non-members, $14. browser’s favorites list: Shipping & Handling Fees AR online is now at www.ameri Under $10 - add $3; $10-19.99 - add $4; $20-29.99 - add $5; $30-39.99 - add $6; $40-49.99 - add $7. All prices are in U.S. dollars. For Canadian or foreign postage, pay by credit card and actual postage is charged. canrecorder.org/membership/ Please make checks payable to ARS. VISA/MC/AMEX/Disc also accepted. magazine.htm. Send news to ARS, 1129 Ruth Drive, St. Louis, MO 63122 U.S. [email protected]. 800-491-9588 [email protected]

40 March 2009 American Recorder Music Reviews ______Infectious music, created in spite of the plague

FOUR FOUR-PART CANZONAS second organists in the chapel of the As seen from the title, Gabrieli (1608), BY , doge. In Giovanni’s absence from specified no instrumentation, but like a ED. GREG LEWIN. Hawthorns Music Venice, there had been a plague that similar edition of madrigals and battle RB 16 (Magnamusic), 1999. SATB. had decimated the ranks of the pieces from a few years earlier, a dis- Sc 16 pp, pts 4 pp. $19.50. professional musicians. Andrea set tinction was made that they were Giovanni Gabrieli was probably about rebuilding his forces at San intended for wind instruments, almost born between 1554 and 1557 in the Marco by hiring a full-time wind certainly and sackbuts. parish of San Geremia in Venice. The band, consisting of Girolamo dalla Recorders were not unknown details of his early life are sketchy, but Casa, a renowned cornettist and in Venice; they were used regularly in it appears that he was born Giovanni violist; his two brothers, who played the confraternity of San Giovanni di Fais and later changed his name to sackbut; and, later, the virtuoso Evangelista, where Giovanni Battista Gabrieli out of respect to his uncle Giovanni Bassano. Giovanni Gabrieli Riccio was organist. Andrea, with whom he shared a close augmented these forces with addi- These pieces are relatively relationship. In fact, in 1587 Gabrieli tional players and began composing simple—playable by beginning to described himself “as little less than a the large-scale ceremonial music for intermediate ensembles. They are son.” It is commonly thought that which he is so well known today. mostly contrapuntal (with a few Andrea provided Giovanni with his Giovanni was also elected to be homophonic sections) and have early musical training. Andrea, who the organist and composer to the few rhythmic eccentricities. had spent some time in Munich confraternity of San Rocco in 1585, studying under the great Orlando de and it is now thought that his largest This is a good edition Lassus, sent Giovanni to Munich pieces were intended for that venue, for small ensembles that for a similar period of study in the with its large central gallery and early 1570s. frescos by Tintoretto, instead of San can’t get eight players Gabrieli remained in Munich Marco. Gabrieli held both those together to play until the death in 1579 of the duke, positions, at the basilica of San Marco Albrecht V, who had been Lassus’s and the Scuola Grande di San Rocco, Gabrieli’s more famous employer for a number of years and until he died in 1612 of a kidney stone. eight-part canzoni. who was an enthusiastic patron of Although best known today for the arts, particularly music. With his his ceremonial and festival music, These canzoni are found in many death, a number of musicians lost their Gabrieli was at home in smaller-scale modern brass editions, but there are jobs; it seems as if Gabrieli were also formats as well. These four four-part few editions available to the recorder a victim of such culling of talent. canzoni are taken from the 1608 player. This edition by Greg Lewin of (Within a generation, the tide would publication by the Venetian publisher Hawthorns Music might be consid- turn and the Munich court would Alessandro Raverji, Canzoni per sonare ered a “bare-” edition. There is again hire Venetian expatriates, con ogni sorte di strumenti. These were little background information and such as Priuli, Valentini and Neri.) very popular pieces, to judge by the editorial practices are not specified. Upon his return to Venice, many collections in which they appear. The music itself has a handwritten Gabrieli was hired as a temporary Additionally, like Gabrieli’s look that can be distracting but is easy organist at San Marco, his position keyboard music, they are found in enough to read. Lewin has thought- becoming permanent in 1585. For other arrangements. These four-part fully supplied phrasing marks that will a few months that year, uncle and canzoni lie well under the fingers in be helpful for ensembles unused to nephew served together as first and arrangements for keyboard and lute. this style of music.

www.AmericanRecorder.org March 2009 41 The parts are four pages, but my prevented the Pope from awarding copy had all four pages printed on a A more recorder-specific him the Order of the Golden Spur. very large page. This is not a problem, edition intended for Merula was also elected to the and there are no page turns. Accademia dei Filomusi in Bologna. This is a good edition for small altos would have been He died in 1665 in Cremona. ensembles that can’t get eight players ideal. There is nothing His existing compositions show together to play Gabrieli’s more the products of a lively mind. His famous eight-part canzoni. These preventing the more works range from sacred songs and small-scale pieces are by no means motets to purely instrumental pieces, inferior to Gabrieli’s more elaborate adventurous and notably the ever-popular variations on music and deserve to be better known. industrious players various ground basses. It is known that Merula was an accomplished 7 CANZONEN (1637), BY from making their violinist as well as a fine organist. His TARQUINIO MERULA, ED. JOACHIM own editions of this surviving instrumental writing shows ARNDT WITH CONTINUO REALIZATION a predilection for strings. In fact, he BY CLAUDIA SCHWEITZER. Mieroprint delightful music. was one of the earliest composers to Musikverlag EM2088, (available specify string accompaniments to directly from www.mieroprint.com), contract, but by December 1632, he sacred motets. 2005. SS or TT, bc. Sc 24 pp, pts 8 pp. was terminated, with accusations that Merula’s pieces look backward $28. he had molested several students. toward some of the more progressive Tarquinio Merula was born Merula threatened a lawsuit to recover Venetian composers, such as Monte- around 1595 in either Busseto or his lost wages, but that threat was verdi, while looking forward to the Cremona in Italy. As was the case with countered with a pending criminal high Baroque with his innovative style so many composers of the day, either a charge lodged by the board of These seven canzoni, like the lack of regular employment or a rest- governors of San Maria Maggiore. earlier-published chaconne (EM2084), less nature took him from his home in By mid-1633 the matter was settled come from Merula’s third book, Cremona to as far away as Warsaw. with an apology from Merula and a published in 1637, CANZONI / overo He is found as the organist of the statement that he relinquished all / SONATE CONCERTATE / per church and the chambers to the king claims to his salary. chiesa, /e camera / a due, et a tre / del of Poland, Sigismund III, in 1624. He then returned voluntarily to cavaliere. This collection typifies Merula was one of the leading Cremona, where he stayed until 1635. Merula’s output: pieces based on exponents of the relatively new con- By 1638, Merula was once again in Renaissance-era ground basses are certante style pioneered by Claudio Bergamo—this time as maestro di found next to more “modern” sonatas. Monteverdi and others in the second cappella and organist in the cathedral The original edition specifies decade of the 17th century and may next to San Maria Maggiore. As violins and basso continuo. This new be described as one of the earliest might be expected, there was con- edition is intended for recorders, the Baroque composers. His compositions siderable tension between the two specific choice of which is up to the in the concertante style are fresh and churches, eventually resulting in the players. Due to the relatively high unforced—he was born into this style board of San Maria Maggiore tessitura, tenor recorders work best in and didn’t encounter it as something forbidding their musicians to these pieces (although listed as an new, as was the case with so many of perform under Merula’s direction. alternative, soprano recorders tend Monteverdi’s contemporaries. He returned in 1646 to a familiar to be on the screechy side). After several years of peripatetic Cremona post, which he had held Not surprisingly, given Merula’s existence, Merula found regular three times in various years, and where skill as an organist, the continuo part employment in 1631 in Bergamo at he now settled down—that of organist needs a for the church of San Maria Maggiore. and maestro di cappella for Laudi della successful realization. Instead of being The prior holder of the post of maestro Madonna services., in which he led a purely accompanying part, the basso di cappella, Alessandro Grandi, had music at the main altar on Saturdays continuo part is an equal partner died the previous year in the plague. and on vigils of Marian feasts. in these pieces: the canzona “La Merula had signed a three-year None of his employment issues Ruggiera” opens with a run that the recorders echo a few measures later. 42 March 2009 American Recorder A bass viola da gamba or ’cello is not necessary for these pieces and may, in mentioned, were a bit shrill. A more fact, make them sound heavy and ponderous rather than light and breezy, as this recorder-specific edition intended for music seems to be. altos would have been ideal. There is More so than the above-mentioned chaconne, these canzoni are written in a nothing preventing the more very idiomatic violin style, with multiple examples of arpeggios. In particular the adventurous and industrious players canzona “La Treccha” contains a notated example of a string tremolo figure from making their own editions of this recurring through the piece. “La Treccha” also dips well below the range of a C delightful music. recorder, going down to low G, the lowest string on the violin. The editors have Prior to playing the previously supplied no alternative notes, preferring to let the performers to fend for published chaconne, I had not themselves (in practice, we took this passage up an octave with no problems). encountered Mieroprint The two recorder parts require virtuosity. These upper parts are demanding, Musikverlag. Mieroprint’s extensive with the players needing to double-tongue in unison in order to negotiate the catalog has an equal focus on new many runs of 16th notes and the shared rhythmic “licks.” The harmonic music for recorders and on editions of language, unlike much of Merula’s music, is undemanding and contains Baroque masters with emphasis on the none of the harmonic crunches for which he is famous. recorder and flute. Due to the lack of This is wonderful music that needs a couple of advanced recorder players for a successful performance. The string idiosyncrasies can be overcome by advanced KEY: rec=recorder; S’o=sopranino; S=soprano; A=alto; T=tenor; B=bass; players, and many of the editions of the era (although not this one) list the gB=great bass; cB= contra bass; Tr= cornetto as an alternative to the violin, so the use of wind instruments in treble; qrt=quartet; pf=piano; fwd= foreword; opt=optional; perc=percussion; the solo literature of the early Baroque was not unknown. pp=pages; sc=score; pt(s)=part(s); Our experience with this edition left us with the opinion that these pieces kbd=keyboard; bc=basso continuo; hc=harpsichord; P&H=postage and would have been better if transposed down a minor third so as to fit on a pair of handling. Multiple reviews by one reviewer alto recorders (as is the case with much Baroque flute music, to make it lie better are followed by that reviewer’s name. Please on the recorder). The we used tended to sound a bit murky in the lower submit music for review to: AR, 7770 S. High St., Centennial CO 80122-3122 U.S. register next to the more aggressive harpsichord, while the sopranos we tried, as

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

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

www.AmericanRecorder.org March 2009 43 an American distributor, this music Classified CONSIDER ADVERTISING IN will be hard to find—in fact can be ______found only, at the time of this writing, ______on their web site, noted above. But the ______effort will be repaid. ______Full page ...... $552 This edition is clear and easy to 2/3 page ...... $439 Where the haves 1/2 page ...... $366 read, and the parts require no page 1/3 page ...... $286 turns. The basso continuo realization and have-nots 1/4 page ...... $223 1/6 page ...... $175 is simple and elegant. of the recorder world 1/8 page ...... $127 This is music deserving of 1/12 page...... $ 95 1 column inch ...... $ 58 rediscovery. My only quibble is that can find each other Prices include web site/e-mail link directly the editorial notes are all in German. from your ad in the online AR at This seems to be the practice of FOR SALE: Cherrywood hurdy gurdy and hard- www.americanrecorder.org. side case, made by Kelischek, bought 2005. German music publishers with the Originally $765 plus $89 for case. Rarely used. Circulation: Includes the membership of the ARS, libraries, and music organizations. notable exception of Moeck. Other Both for $450 or make offer. Please contact: [email protected]. Can ship. Published five times per year: publishers of early music, such as January, March, May, September, November. ASPIRE, ANNOUNCE, INSPIRE! Afford- London Pro Musica, routinely able PR for teachers and recitalists. Reservation Deadlines: provide notes in English and www.recitalroom.com December 1 (January), February 1 (March) , April 1 (May), August 1 (September), German, and often in French PHOTOS NEEDED of ARS events, 1970s–1990s, October 1 (November). and Italian, making their editions to illustrate last chapters of Martha Bixler’s histor- ical memoir about the ARS (to be posted online). Rates good through November 2009. Please inquire about discounts on multiple-issue accessible to a wider audience. E-mail scanned photos (300dpi JPG or TIF): contracts, inserts, or other special requests. Frank Cone studied the recorder [email protected]. Hard Extra charges for typesetting, layout, half- copies: mail to ARS office, to be scanned & with the late Ellen Perrin, the viola da tones, and size alterations. 133-line screen returned. Info: 800-491-9588. recommended. Advertising subject to gamba with Carol Herman, and the acceptance by magazine. First-time adver- T-SHIRT FOR ENSEMBLE PLAYERS to wear or tisers must include payment with order. cornetto with Larry Johansen. The share: "Top 10 Reasons Why I Got Lost." Wrong California multi-instrumentalist has fingering, bad lighting, etc., on blue cotton shirt, For more information, contact the $18. Highlighter tape and other goodies. ARS office, 1129 Ruth Drive, St. Louis, MO been a member of the Orange County Beth & Linda's Boutique, as seen at BEMF. Call 63122-1019; 800-491-9588 toll free; Recorder Society since 1985. Linda at 617-671-8694 or e-mail for brochure 314-966-4082 phone; 314-966-4649 fax [email protected]. [email protected] Chapter leaders! Advertiser Index

We know you’re out there Classified rate for American Recorder: 60¢ AMERICAN ORFF-SCHULWERK ASSN...... 3 and that you want to share per word, ten-word minimum. “FOR SALE” AMERICAN RECORDER SOCIETY ...... 31, 35, 36 and “WANTED” may be included in the AMHERST EARLY MUSIC FESTIVAL ...... 17 your plans, concerns, copy without counting. Zip code is one STEPHAN BLEZINGER ...... 24 solutions and ideas with word; phone, e-mail, or web page is two. JEAN-LUC BOUDREAU...... 21, 39 BOSTON EARLY MUSIC FESTIVAL ...... 7 other chapter leaders. Visit Payment must accompany copy. Deadlines are one month before issue date. Send copy CANTO ANTIGUO EARLY MUSIC WORKSHOP . . . . 13 COURTLY MUSIC UNLIMITED...... 20 http://americanrecorder with payment to: ARS, 1129 Ruth Drive, EARLY MUSIC AMERICA ...... 8 society.wikispaces.com. St. Louis, MO 63122-1019. HONEYSUCKLE MUSIC ...... 34 BILL LAZAR’S EARLY MUSIC ...... 26 AMERICAN RECORDER (ISSN: 0003-0724), 1129 Ruth Dr., St. Louis, MO 63122-1019, is published KEITH E. LORAINE EARLY DOUBLE REED SERVICE . . 35 bimonthly (January, March, May, September and November) for its members by the American LOST IN TIME PRESS...... 11 Recorder Society, Inc. $20 of the annual $45 U.S. membership dues in the ARS is for a subscription MADISON EARLY MUSIC FESTIVAL ...... 12 to American Recorder. Articles, reviews and letters to the editor reflect the viewpoint of their individ- MAGNAMUSIC DISTRIBUTORS ...... BC ual authors. Their appearance in this magazine does not imply official endorsement by the ARS. MOECK VERLAG ...... IFC EDITORIAL DEADLINES: November 15 (January), January 15 (March), March 15 (May), July 15 MOLLENHAUER RECORDERS ...... IBC (September), and September 15 (November). Submission of articles and photographs is welcomed. PORT TOWNSEND WORKSHOP ...... 14 Articles may be typed, or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes- PRESCOTT WORKSHOP ...... 30 sage. They should be for the exclusive consideration of AR, unless otherwise noted. Photos may be PROVINCETOWN BOOKSHOP...... 26 sent as prints, or unedited JPG or 300dpi TIF files (minimum 3”x4”). Advertisements may be sent in THE RECORDER MAGAZINE ...... 4 PDF or EPS format, with fonts embedded. THE RECORDER SHOP...... 6 EDITORIAL OFFICE: Gail Nickless, Editor, 7770 S. High St., Centennial, CO 80122-3122; SAN FRANCISCO EARLY MUSIC SOCIETY ...... 18 303-794-0114 (phone & fax); [email protected]. Books for review: Editorial office. Music SWEETHEART FLUTE CO...... 3 for review: Editorial office. Recordings for review: Tom Bickley, 1811 Stuart St., Berkeley, CA 94703. TEXAS TOOT ...... 20 Cutting Edge: Tim Broege, 212 Second Ave., Bradley Beach, NJ 07720-1159. Chapter newsletters, VON HUENE WORKSHOP, INC...... 30 other reports: Editorial office. Postmaster: Send address changes to ARS, 1129 Ruth Drive, St. Louis, WICHITA BAND INSTRUMENT CO...... 21 MO 63122-1019. Periodicals postage paid at St. Louis, MO, and at an additional mailing office. DOMINIK ZUCHOWICZ ...... 34

44 March 2009 American Recorder