Published by the American Recorder Society, Vol. XLIX, No. 2 march 2008 3IMPLY HEAVENLY n OUR NEW TENORS AND BASSES WITH BENT NECK
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Telemann: Complete Telemann:Partitas in Four Parts Opus 2 Duo for SATB recorders Sonatas Score and Parts & Sonata in B flat from $22.50 each Der getrue Music Meister These two books contain selected For AA recorders movements from the Darmstadt Item # DOL0707 orchestrations, arranged for SATB $15.75 recorders by Andrew Robinson. The seven wonderfully Telemanns famous partitas the arranged duets in this 60 page Kleine Cammermusic of 1716, score are all carefully arranged arranged for ensemble. Each piece for altos using the same skill is different, showing that they were thatwasusedtoarrange not made together but accumulated Telemanns more famous over some time. recorder works. Item # PAR0401 Book 1, Partitas 1 through 3 Item # PAR0402 Book 2, Partitas 4 through 6
127(:257+<1(:6 from your friends at Magnamusic Distributors Delalande:Chacone from Ballet de Monteclaire:Airs de Danse Jeunesse For S/T recorders For SATTB/SAATB recorders Item # PAR0103 Item # PAR0411 $19.95 $22.50 Monteclair was a composer of The Ballet de Jeunesse was written between 1683 cantatas, serenades, instrumental and 1689. It is a fairly substantial piece. It is not a technically demanding piece, concerts, a ballet and a well received but it nicely fills a gap in the French baroque ensemble repertoire. The trio and opera, but is best known today for his tous markings show where the basses cut out and the third and fourth lines flute duets, and the Deuxieme Concert for flute and bass. Almost combine into one instrument. Arranged by Andrew Robinson. Visit our website all of the treatises have sections of Airs de Danse, dance tunes, for a sample scan of the score. which are published here for the first time in a modern edition. In the Petite Method Monteclair writes that, "Nothing improves the understanding of the different tempos (movements) and meters Handel: Pergolesi: than singing or playing dance tunes." Fitzwilliam Selection from Overture Stabat Mater Monteclair:Menuets et Contre Dances for AAB SATB recorders For Alto & Pf recorders The Avondale Press Item # AVP0080 Item # PAR0248 Item # AVP0078 $16.00 $19.95 $14.00 Known in the 14th century primarily for Monteclair published two books of Composed in 1741, this popular his comic operas, Pergolesi composed contre-danses and six books of overture is the only work by Handel this piece as his last work , which later menuets but, sadly, only one has in which he specified parts for the J.S. Bach rearranged, melding his survived.Thisisstillovertwo clarinet, and has been beautifully particular style with the baroque forms hundred pieces, and this edition takes transposed up a minor third and and gallant style of Pergolesi. Mr. a selection from each, transposing follows the original quite closely. Tennent, has skillfully arranged this for them to comfortable keys for the 8 page score and parts. the preset voicing. treble recorder. The title pages announce that the dances were played at balls at the Opera; Bach, J.S.: We Hasten With Bach, J.S.: Slumber Now spectacular events for French Eager but Faltering Footsteps Item # AVP0091 nobility.24 page score& parts. Item # AVP0081 For ATTBB recorders For AT(B), Pf $13.00 View scanned music samples and introductions of these and $12.00 This aria from the third movement of over 11,000 other pieces online at MAGNAMUSIC.COM . This arrangement of Bach’s popular Cantata 82 must have been a favorite of Search for your favorites by composer, instrumentation and piece from Canata 78, has been Bach’s because he adapted it many times more. arranged for alto and tenor, with over his career and is one of his most optional bass, part included, and profound movements. 8 page score and Call TOLL-FREE 888-665-2721 keyboard. Score and parts. parts. Email [email protected] Online http://www.magnamusic.com EDITOR’S ______NOTE ______Volume XLIX, Number 2 March 2008 couple of the pieces in this issue take Ame back in time. I came in the “side FEATURES door” to play the recorder, having studied Setting our Sights on the Heights ...... 10 modern flute for years. A friend producing Summer Workshops a Madrigal dinner convinced me that pick- ing up the recorder would be a breeze. For a dozen years, that annual event made up The Flute Master: A Recorder Fairy Tale ...... 20 the majority of my public efforts, aug- by Han Tol mented by arts festival gigs. A lot of pieces 4 we played then (especially Christmas selections) were from Musica Sacra et DEPARTMENTS Profana—music I probably bought at a precursor to the Texas Toot summer work- Advertiser Index ...... 40 shop (in Kerrville, if I remember correctly). Book Reviews ...... 22 Since then I’ve snatched up almost any pieces that I’ve seen in sale bins from that Chapters & Consorts ...... 26 out-of-print series, edited by the late 10 Classified ...... 40 Ralph Harriman (page 4). There seems to be hope that it may be revived. Compact Disc Reviews ...... 38 Still thinking of my flute-study days, it Education ...... 24 occurred to me at one point that there Music Reviews...... 28 were many books of etudes for flute (as for other instruments)—but what was the On the Cutting Edge...... 19 corresponding resource for recorder? President’s Message ...... 3 I found a few technique books over the 22 Q&A ...... 6 years, but nothing that really matched the breadth of Berbiguier for speed and finger Tidings ...... 4 ON THE COVER: dexterity, of Marcel Moyse for tone (the Peter Jacob Horemans Bits and Pieces: Musica Sacra et Profana editor Ralph Harriman latter studies I found to work well on tenor (1700-1776) Musical instruments, dies; Peter Ballinger completes Telemann edition; EMA Collegium recorder). This issue’s Music Reviews detail from the Luncheon of Giovanna of Lasande. (page 28) include an overview of the adap- Germanisches grant awarded to early music ensemble from Southern California Nationalmuseum, tation of flute studies collected by Frans Nuremberg, Germany Photo Credit : Scala / Vester—a workhorse in the flute world— Art Resource, NY ©2008 plus other music ranging from solo to recorder orchestra, old to new. My flute/piccolo life comprised years of GAIL NICKLESS, Editor playing in orchestras, so this issue’s refer- ences to recorders and orchestras also Contributing Editors resonated with me: Anita Randolfi’s FRANCES BLAKER, Beginners & Technique; TOM BICKLEY, Compact Disc Reviews; CONSTANCE M. PRIMUS, Music Reviews; CAROLYN PESKIN, Q & A mention of recorders in the opera pit TIMOTHY BROEGE, 20th/21st-Century Performance (page 8); a Q&A on how a consort might LISA SCHMIDT, Design Consultant approach playing with an orchestra (page 6); a CD Review of new recorder Advisory Board concertos (page 38); and related items. Martha Bixler • Valerie Horst • David Lasocki Bob Marvin • Thomas Prescott • Catherine Turocy Regular readers of AR will expect this Kenneth Wollitz issue to contain listings for summer workshops (page 10), which start early Copyright © 2008 American Recorder Society, Inc. and go well into the fall—choose your best Visit AR On-Line at
6 American Recorder PRESIDENT’S MESSAGE ______Fearless change
earless change: the phrase alone anything to me at the time. I had my own about is the difficulty Fmakes me feel bold! I imagine myself understanding of patterns, which includ- chapters have in filling striding forward, brandishing my sword ed melodic sequences, the circle of fifths, officer positions. This and clearing out the cobwebs of compla- and plaid, but I couldn’t relate that to is an issue both at the cency. There are lots of things I’d like to the corporate world. central organization change. I’d like to make more room in my Over the years, I wondered about it and the chapter level. day for practicing, quiet time, and learning occasionally, suspecting that Rising’s We are all so busy! The new things. I’d like every child to have patterns might be of use to me in my own prospect of getting in- the opportunity to play an instrument life—but never taking the time to read the volved in something throughout their school years, and for books she has written on the subject. that will add to our list recorder consort to be offered in schools Now, as President of the ARS with a of things to do is daunting. along with band, orchestra and choir. magazine column due five times a year, I recall Robert Putnam’s book Bowling My personal changes are fairly easy to I look for reading materials that will help Alone, and his description of the gradual make, but the rest can seem overwhelm- me and our Board to better serve you and decline in civic involvement by Ameri- ing. In my imagination, the objections pop our instrument. Fearless Change is one of cans. Yet, if our societies are going to sur- up—“we’ve always done it that way,” or those books. Rising and Manns have com- vive, someone’s got to serve as president, “we tried that already and it didn’t work.” piled real-life examples of innovators who treasurer, secretary, etc. I sigh and decide it’s just easier to go along have used patterns to introduce change One of the patterns described in Fear- with the flow. Does this sound familiar? into their workplace. less Change is “Ask for Help.” If you are a Change is hard, and a change agent is The patterns can be applied to many chapter officer whose term is coming to an not always welcomed. On the grand scale, contexts, not just those in the corporate end, try asking someone to run for the think of Mohandas Gandhi, Fannie Lou world. For instance, they quote recorder position—one person at a time until you Hamer, or Martin Luther King, Jr. Where player Frances Blaker, who discovered are successful. Don’t just issue a general would we be without them and others like that she could get more done in a day if she appeal in a newsletter. Most people won’t them? remembered “15 Minutes.” In a day with even respond, all of them assuming that many administrative tasks to accomplish, someone else will. If you call someone up, Do you see the need if she set out to work on each task for just that individual may not only feel honored 15 minutes (rather than 0 minutes due to to be asked, but it will be harder for that for change in your procrastination), she could avoid feeling person to say no! overwhelmed. The other pattern to apply is “Personal chapter, or anywhere I tend to flit from one task to another— Touch,” where you are encouraged to as soon as I think of something, I feel I answer the question yourself for the per- else in your life? must attend to it now, rather than concen- son you are trying to convince,“What’s in trate on one thing at a time. Perhaps it for me?” If you receive one of these calls, Fearless Change: Patterns for Introduc- I could use a pattern titled “Put it on the don’t say you wouldn’t be good at being an ing New Ideas (Addison-Wesley, 2004) is a List.” I also have a tendency to push ideas officer. That’s not a good enough reason book by Linda Rising (ARS member in I’m convinced would make life easier for not to run for the job—believe me, I know! Phoenix, AZ) and Mary Lynn Manns. whoever I’m working with, and am often I certainly didn’t think I could be the I met Rising several years ago while I was left wondering why that person didn’t President of the ARS, but it’s turned out to in Phoenix giving a workshop and concert wholeheartedly embrace my new idea. be an interesting and rewarding job, one with my quartet. Rising is one of those Several of the patterns in Fearless Change that has given me a deeper passion for people who makes you want to join in could help me introduce new ideas more the organization than ever before, and whatever she’s doing, because it looks like successfully, especially “Step by Step” and revealed talents I never knew I had. too much fun to pass up. She directs a “Personal Touch.” If you are a chapter officer, don’t try to small performing group and is the ARS One pattern that I really like and that carry the load alone. Ask for help! Again, representative of the Phoenix ARS chapter. recorder chapters already do well is “Do don’t put out your request in a general I talked with Rising about her work as Food!” As the book says, breaking bread appeal (though that may be successful, an independent consultant and author. together creates a powerful bond among depending on your group), but instead She helps companies use patterns to in- people. call individuals and ask each one to do a troduce change, specifically in the soft- In my time on the ARS Board, one of specific job. ware field. To be honest, that didn’t mean the most common problems I’ve heard Continued on page 5
March 2008 7 TIDINGS ______EMA Collegium Musicum Grant, autumn in New York, ______early music editor Ralph Harriman dies
Ensemble is a period-instrument group Piffaro. the Renaissance Band, and sung Bits & Pieces whose members are among the most by the Concord Ensemble. Le Poème gifted instrumentalists at USC. Specializ- Harmonique, which garnered acclaim ing in music from the 17th- through the at the 2006 BFX, will return with the mid-18th century, they have performed world premiere of Venezia, which The Metropolitan Museum of Art in in the U.K.-L.A. Festival, Los Angeles features music of Claudio Monteverdi New York City, NY, has published its Bach Festival, Long Beach Bach Festival, and Francesco Manelli. youth program brochure for winter/spring J. Paul Getty Summer Music Festival, Cal Other BFX sponsors include the 2008. The brochure features some of the State Summer Arts Festival, UCLA music department at the University of musicians, storytellers, dancers and other concert series, Occidental College, California–Berkeley, San Francisco Early artists who work with the teachers of Chapman University, Skirball Cultural Music Society, Philharmonia Baroque family programs, including recorderist Center and other locations. They have Orchestra and American Bach Soloists. Daphna Mor. Describing her as been heard on National Public Radio. For information, visit
One of the most exhilarating moments As you read Fearless Change, you’ll find And I want the ARS Board to have an in my tenure as ARS President came when things that you already do, but may not ongoing healthy relationship and dialog we needed to raise money for our compo- have realized were patterns. You’ll also dis- with its chapters and individual members. sition contest. Asking people for money cover other patterns in your life that are I just checked the Phoenix chapter’s web has always been low on my list of fun not described in the book. One example site to confirm a few details before finish- things to do. I made my first call with some comes again from Blaker. She has con- ing this column. I want to thank them for trepidation, but with enthusiasm for what ducted a workshop orchestra of mostly having a reciprocal link to the ARS web site I knew was a good cause. The call was recorder players—with a few viols, harpsi- prominently displayed on their home successful! The rush of that first call gave chord and theorbo—at the Carmel Valley page. I’d love to see this on any web site me the confidence to make more calls. I (CA) Elderhostel for several years. In the related to the recorder. got half of what we needed in a short time. early days, she found it difficult to convey In regard to my second wish, the ARS Others pitched in and our budget was instructions to the group because many Board has recently started a wiki (an inter- met. By the time you read this, we will players would “noodle” when she talked. active site where people can share infor- have a contest winner and several new Some of the players were experienced mation quickly) so that chapter leaders pieces for recorder quartet. Good thing recorder orchestra players. They advised and other ARS members can communi- I asked that first donor for help! her to be strict, knowing that the noise- cate easily. I’d like to thank Alan “Ask for Help” is one of 48 patterns makers simply weren’t aware of orchestra Karass, past president and tireless work- that Rising and Manns suggest will help etiquette. Now Blaker explains the rules er for the ARS, for creating that wiki you introduce change successfully. Do you on the first day, and if things start to get at
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March 2008 9 Q & A ______Sharing the stage with a symphony orchestra
uestion: My recorder quintet, which in a suitable key, preferably with no more same key signature, but move sharps or Q has been meeting for the past five years, than two sharps or flats. flats to the correct positions on the staff. enjoys playing SSATB and SATTB music. Most carols are four-part pieces, so you The next step is orchestrating the piece. Since we now are all retired, we have some will need to put two players on either the For best results, choose a multi-stanza leisure time and feel it would be an adventure soprano or the tenor line. Two sopranos carol with one or more repeated musical to play a piece with a symphony orchestra. will emphasize the melody, but two tenors phrases and a refrain. We are fortunate in having an orchestra in will probably produce better intonation As an example, let’s say that you have our vicinity that features local groups each and overall balance. The alto player will chosen Angels We Have Heard on High, a year at Christmas time. Would you have any have to read up an octave. four-stanza carol. To be interesting to the suggestions for music that we could play with If the orchestra does not have any choir audience, the performance should feature the orchestra?—Marilyn Skatrud, Chippewa books, but does play carols for audience various timbres. To make the recorders Falls, WI sing-alongs, ask for string parts. (Don’t ask audible, your ensemble should play nswer: I applaud your enthusiasm. for woodwind or brass parts. Some wind simultaneously with only a few orchestra APlaying with a symphony orchestra instruments are “transposing instru- members—perhaps three small (i.e., one- would enable your quintet to perform for a ments.” Their parts are written in different on-a-part) groups of players selected by large audience and would provide a learn- keys, to keep the majority of their musical the director, such as a string quartet, a ing experience for any audience members range notated in the staff, so recorder play- woodwind quartet, and a brass quartet. acquainted only with soprano recorders. ers would be unable to play directly from For the first stanza, the string group However, playing with a symphony them.) The first violin part should be alone can play the opening four bars orchestra would be difficult for two major playable on the soprano recorder, the sec- (“Angels we have heard on high, Sweetly reasons. First, historically, recorders were ond violin part on alto, the viola part on singing o’er the plains”). Your recorder not designed to play the kinds of music tenor, and the ’cello part on bass. quintet alone can then play the next four that symphony orchestras usually per- bars (“And the mountains in reply, Echo- form—i.e., extended works such as sym- There are certain special ing the joyous strains”), which repeats the phonies, concertos, opera overtures and previous musical phrase. The recorders ballet suites composed in the late 18th, events, such as Christmas will sound an octave higher than the 19th, and 20th centuries. The traditional strings. For the “Gloria” refrain, the recorder has too narrow a range of pitch programs, for which recorders can play along with the strings, and controllable dynamics to handle such doubling them at the octave to produce a repertoire. symphony orchestras brighter timbre.For the second stanza, re- Also, modern orchestral instruments play lighter music, peat the above formula, but use the wood- are considerably louder than recorders. wind quartet instead of the string quartet. Your quintet could be inaudible if you some of which might be For the third stanza, repeat again, this time tried to play along with a full orchestra. using the brass quartet, and for the final Nevertheless, there are certain special suitable for recorders. ... stanza, repeat once more with the three events, such as Christmas programs, for quartets combined. (The recorders may which symphony orchestras play lighter For best results, choose not be audible in the final refrain.) music, some of which might be suitable for a multi-stanza carol The above manner of playing will recorders. If your ensemble can perform admittedly not be very challenging for such music with one-on-a-part chamber with one or more your quintet. However, if the orchestra ensembles rather than the full orchestra director likes the recorders’ dulcet tones, and can get the musicians to play softly, repeated musical you may be able to persuade him/her to let performing with a symphony orchestra your group play another piece without the can be an enjoyable adventure. phrases and a refrain. orchestra. In that case, choose a favorite Since you plan to perform in a selection from your usual repertoire, not Christmas concert, I would suggest play- There is one complication. Viola parts necessarily Christmas music. ing a Christmas carol. If your community are customarily written in alto clef (middle You will have a large captive orchestra is associated with a chorus, ask C on the middle line of the staff) rather audience—and a chance to demonstrate the director whether the orchestra’s music than in treble clef. If the viola part is writ- and publicize the recorder as a “real” library includes choir books of carols. ten that way, you will have to rewrite it. Since recorders have about the same range That is easy to do: replace the alto clef with Send questions to Carolyn Peskin, Q&A Editor, as the human voice, you can play easily a treble clef, and move notes that are on 3559 Strathavon Road, Shaker Heights, OH 44120; from a choral score as long as the music is spaces up to the next line, and notes that
10 American Recorder instrument capable of producing beauti- Bits & Pieces: ful music. Although sharing the spotlight with a Second Verse symphony orchestra might be an exciting project, there are more practical and more satisfying ways of performing with large Triangle Early Music Presenting Orga- groups of diverse instruments. nization is in the midst of its inaugural If you attend a summer early music season (2007-08) of four concerts in workshop, you may be able to join a Durham, NC, and nearby venues. The Renaissance band including recorders, presenter sponsors concerts of Medieval, crumhorns, sackbuts and other early Renaissance, Baroque and early Classical winds, or a mixed consort combining music, performed by outstanding artists. recorders with voices, viols, lute and Of interest to recorder players was the other soft instruments. Some workshops October 2007 series debut concert—by even have recorder orchestras, which Ensemble Caprice (Matthias Maute, include a large number of recorders of recorder; Susie Napper, viola da gamba; all sizes from garklein to contra bass. Dongsok Shin, harpsichord). A review by Martha A. Fawbush of radio station CVNC (Classical Voice of North Caroli- You will have a large na)described the program’s last work, captive audience—and Vivaldi’s Sonata Op. XIII, No.4, as “arguably the trio’s most satisfying a chance to demonstrate playing of the evening ...[requiring] the and publicize the recorder artists to play as energetically as they did at the beginning of the concert, and as a “real” instrument they did not disappoint.” capable of producing In a recent TEMPO offering—appro- priately in February, entitled “German beautiful music. Chocolate”—Aurora Baroque (David Wilson, Baroque violin; Barbara Blaker Each year the March AR lists and Krumdieck, Baroque ’cello; Robbie describes many summer workshops Link, gamba; Henry Lebedinsky, harp- scattered throughout the U.S. and some- sichord) gave a program of luscious 17th- times other countries (see the listings in century German music by Biber, Buxte- this issue). Most of them welcome senior hude, Schmelzer and Rosenmüller. citizens and players of various ability Peter Seibert of Seattle, WA, was levels. surprised when several almost-forgotten If you have never participated in an submissions were accepted for publica- early music workshop, I highly recom- tion by both Polyphonic Publications mend a workshop ensemble experience and PRB Productions—and doubly for you and your quintet members. surprised that a review of Ten Bass Hit Carolyn Peskin (1999) that PRB sent to him shows that his works are being played abroad. Trans- lated from the German text in the journal of the European Recorder Teachers Asso- ciation, the review describes him as “a composer for recorders not only in the United States, but also in this part of the world, where his works are more Honeysuckle Music and more frequently played.” Peter Ballinger of PRB Publications was featured in the February Early Music Recorders & accessories News of the San Francisco Early Music ... Society. PRB will sponsor a free concert on Music for recorders & viols April 6 in Albany, CA, to celebrate its completion of the first modern edition of Jean Allison Olson Telemann’s Fortsetzung des Harmonischen 1604 Portland Ave. Gottesdienstes—72 cantatas for voice, two St. Paul, MN 55104 instruments and continuo, first published 651.644.8545 in 1732. The seven-volume edition is the [email protected] culmination of a massive project that began in 1992.
March 2008 11 Two Views: New York City Notes
Agrippina, an opera Handel composed Bach was still at Weimar. It is intended for the Venice season of 1709-10, has The combination of to be performed on the Sunday between some delightful recorder obbligatos. Christmas and New Year. In this cantata, They were ably played by Rachel Begley period instruments Bach’s main focus is on the solo voices, and Daphna Mor from the orchestra but there is some nice work for the pit of the New York City Opera. This (recorders, harpsichord, recorder as well. Susan Iadone and score is full of exquisite music, and the Larry Zukof were the recorderists. City Opera staging presented it as a theorbo, lute) with Chelsea Winds Recorder Consort very funny bedroom farce à la the (of which I am a member) presented Marx Brothers. the standard two programs last fall at the General I heard the October 14 performance Theological Seminary (GTS). On and found that the combination of August 31, a quintet concert welcomed period instruments (recorders, harpsi- instruments of faculty and students to the new chord, theorbo, lute) with the standard academic year. instruments of the orchestra worked the orchestra The program was titled “Summer quite well in this context. Winds”—and, since the weather was so Due to a conflict, I arrived late for the worked quite well. nice, we played out-of-doors in front of November 4 concert that the Recorder the chapel. We were delighted when Orchestra of New York (RONY) gave at Paris by Harburg and Duke in an arrange- people passing the Seminary campus Corpus Christi Church. RONY is con- ment by Stan Davis. The encore was came off the busy streets to listen. The ducted by Deborah Booth. I was just in the Basse Dance movement from the program included music by Schein, time to hear a beautifully tuned plagel Capriole Suite by Peter Warlock. Parsons, Mozart, Charlton, Hummel cadence that concludes the late Jennifer On December 30, I treated myself to and John Philip Sousa. Gregory Eaton, Lehmann’s arrangement of Anton Bruck- the Vesper Service at Holy Trinity Luther- David Hurd, Barrie and Lucinda Mosher, ner’s Ave Maria (available in the ARS an Church. The main offering at these and I were the performers. Members’ Library series). Bach vesper services (the first series of its On November 24—this time playing The Bruckner was followed by Guus kind in the western hemisphere, per- inside the GTS chapel—Chelsea Winds Haverkate’s Sound Crime. Large signs formed for 40 years by professional presented a program of trios titled were held aloft by a black-clad shamus musicians from the New York area— “Autumn Winds.” Usually the group figure to help the audience follow the choir, soloists and players of Baroque features a work or even multiple works progress of the crime. But Sound Crime is period instruments) is always a J. S. Bach by current composers, but this program so witty and so visual in its composition cantata suitable to the liturgical season. was an exception. There were two that the signs, while amusing, were On this December Sunday, it was ricercare by Vincenzo Ruffo, and the unnecessary. Cantata 152, “Tritt auf die Glaubens- Orlando Gibbons Fantasy #7 from The printed part of the program bahn” (Walk in the way of faith). This is the Renaissance; the rest of the ended with a careful playing of April in an early work, composed in 1714 while program consisted of Baroque trios by Corelli, Purcell, J.S. Bach and Vivaldi. Performers on this trio program were Eaton, Hurd and myself. Anita Randolfi
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12 American Recorder The Recorder Orchestra of New York It’s always a treat to hear each of the four The early music ensemble (RONY), founded in 1994, gave two perform as soloists, but it was a very Ciaramella offered “A Piper’s Noël” to a well-attended performances last fall of special pleasure to hear them together near-capacity crowd as part of the “To Bach and Back Again” under music as an ensemble, playing with bravura, Music before 1800 series at Corpus director Deborah Booth. The first eloquence and sensitivity. Christi Church in New York City in performance—held at St Patrick’s on December. Co-directed by Adam and the Hill in Glen Cove, NY, as part of its Rotem Gilbert, the group included Beacon Music Series—was followed in A contemporary work performers on recorders, sackbuts, early November by a concert at the shawms, bagpipes and the rarely-heard acoustically splendid Corpus Christi by Guus Haverkate, slide trumpet, together with four singers, Church in Manhattan. Music included in a program of vocal and instrumental works by Sweelinck, Scheidt, Bach, Sound Crime, was a pieces. Heinichen and Bruckner, as well as a set The music from Italy, Spain, Flanders, of Renaissance dance tunes arranged by “hit” with both audiences. France, England, America and Germany Denis Bloodworth. ranged from chant to shape-note singing, A contemporary work by Guus ... Michael Zumoff, and included carols, hymns, mass Haverkate, Sound Crime, was a “hit” with sections, lowly pipers’ tunes and com- both audiences. Haverkate employs dressed in a trench plex Renaissance polyphony. The energy musical themes and clichés that ironical- of the performers, coupled with the ly mirror the titles of the short move- range of instrumental colors, provided a ments: the night, the passion, the city, coat and fedora (à la perfect setting for celebrating Christmas the suspense, the crime, the fugitive. music inspired by shepherds. The mix of A series of posters announced the on- Columbo or Guy Noir) “traditional” music with less familiar set of each movement. For the Manhat- music of the 14th and 15th centuries, tan concert, Michael Zumoff, dressed in obligingly changed performed by the young, vigorous musi- a trench coat and fedora (à la Columbo cians, was enthusiastically received by a or Guy Noir) obligingly changed the the movement titles. very appreciative audience. movement titles, to the delight of the Nancy M. Tooney audiences.
Holiday Treats The Gift of a In late December, Early Music New York, directed by Frederick Renz, pre- Recorder... sented four performances of seasonal means even more when 16th-century Dutch music. “A Dutch accompanied by a Christmas” was given in one of the gift membership lovely, acoustically-friendly small chapels in the American Recorder Society. at the Cathedral of St. John the Divine in Manhattan. During Play-the-Recorder Month, A nonet of male singers was joined by give the gift of music and save lutenist Hank Heijink and a quartet of at the same time—send along recorder virtuosi: Rachel Begley, a membership that entitles Daphna Mor, Nina Stern and Tricia your friend, spouse, parent van Oers. or child to receive five issues of The concert included a mix of music American Recorder; a Directory related to Christmas plus a few rather of recorder players throughout rowdy drinken liedeken (drinking songs). the U.S. and all over the world; discounts on CDs, music and Of special interest to recorder fans were some summer workshops; the instrumental works by Tielman and much more. Susato and Jacob van Eyck, and a tran- scription for recorders of a keyboard Include name, address and phone number of both recipient and work by Sweelinck. donor along with your check. The program juxtaposed some of the Send payment during March for Play-the-Recorder vocal works with the corresponding Van Month, and save 25% off of regular dues: Eyck variations, played to great effect by $35 (U.S./Canadian membership). Send your Mor from a small gallery above the check made out to “ARS” to: audience. ARS Gift Membership, 1129 Ruth Drive, The quartet also gave a lively rendi- tion of Susato dances and Begley’s three- St. Louis, MO 63122-1019 U.S. part arrangement of the Van Eyck A signed card will accompany your gift. “Les Boffons” from Der Fluyten Lust-Hof.
March 2008 13 SettingSetting ourour SightsSights onon thethe Heights:Heights: SummerSummer WWorkshopsorkshops
MARIN HEADLANDS SUMMER TEXAS TOOT (ARS) RECORDER WORKSHOP Texas Women’s University, Denton, TX Point Bonita YMCA, near San Francisco, CA May 25-31 May 16-18 Director: Daniel Johnson Marin Headlands are again green and full of The Summer Texas Toot is a one-week pro- wildflowers, so the Marin Headlands gram of classes in Renaissance and Baroque Recorder Workshop can’t be far away. Again music at all levels, for recorders, viols, this workshop will swell with harmonies of singers, plucked strings, Renaissance reeds recorders, viols, and perhaps a psaltery or and brass, and harpsichord. Our classes drum. Intermediate and advanced players are include an array of small, one-on-a-part warmly invited to join members of the spon- Renaissance and Baroque ensembles and soring East Bay ARS Chapter at this annual larger mixed vocal and instrumental groups. event. Music-making begins on Friday and The size of the workshop enables us to create continues through Sunday afternoon, includ- classes for all levels of students, from those ing also one- and two-day options. of modest skills to advanced players and singers. With many familiar faces, and some new, this year’s faculty reflects the rich resources and Same Texas Toot hospitality and tradition— depth of the Bay Area recorder community. new location! This year’s Summer Toot will Conductors are David Barnett, Annette be held on the beautiful campus of Texas Bauer, Tish Berlin, Tom Bickley, Frances Women’s University in Denton. Classrooms, Blaker, Louise Carslake, Frances Feldon, dining and dorm accommodations are air- Eileen Hadidian, Shira Kammen and John conditioned and easily walkable. Denton is Tyson. Music offered will span periods and a lively college town, with two major styles, from Medieval and Renaissance universities—TWU and the University of music to present-day composers, polyphony North Texas. It’s an easy trip to attractions to improvisation. in bustling Dallas or culturally vibrant Fort Worth. Some planned highlights include works by Machaut, Josquin, Morley, and polyphonic Boulder Early Music Shop will be in Palestrina and Willaert. We’ll enjoy English residence at the Toot with sheet tunes in settings of Playford Dances, and music, instruments, CDs and more. some from Handel and his buddies. We ex- Contact: Daniel Johnson, PO Box 4328, pect lively Celtic dances, along with Spanish Austin, TX 78765-4328; 512-371-0099 ; flavors in Nueva Espana: Music from the New
14 American Recorder on-site repair by Dale Taylor. All ages are Mark Cudek received his B.F.A. from State welcome, as well as non- participants. University of New York at Buffalo and his Faculty includes Dale Armentrout, Louise M.M. at Peabody Conservatory. Mark is a Austin, Julie Elhard, Charles Fischer, Shelley founding member of the Baltimore Consort Gruskin, Albert Jackson, Lisette Kielson, and is currently the Director of the Early Patrick O’Malley, Phillip Serna, Karen Snow- Music Department at the Peabody Institute berg, Mary Halverson Waldo and Todd of Johns Hopkins University and Artistic Wetherwax. Brochures available. Director of the Interlochen Early Music Workshop and the Indianapolis Early Contact: Nancy Chabala, 8609 45th St., Music Festival. Lyons, IL 60534-1616; 708-442-6053 (day), 708-386-4247 (fax),
INTERLOCHEN COLLEGE SAN FRANCISCO EARLY MUSIC OF CREATIVE ARTS’ SOCIETY BAROQUE MUSIC & EARLY MUSIC WORKSHOP DANCE WORKSHOP (ARS) Interlochen Center for the Arts, Sonoma State University, Rohnert Park, CA Interlochen, MI June 15-21 June 8-13 Directors: Phebe Craig, Kathleen Kraft Director: Mark Cudek A music-packed week of master classes, The Interlochen Early Music Workshop coached ensembles, concerto evening, focuses on early techniques, articulation, Baroque dance, orchestra, vocal and wind ornamentation/improvisation and ensemble ensembles, continuo classes, concerts and arrangement in Medieval and Renaissance lectures. music. The workshop culminates with a par- Featuring recorder faculty Frances Blaker and ticipant performance on period instruments. Marion Verbruggen. Other faculty: Karen The 2008 workshop will be a potpourri of Clark, voice; Phebe Craig, harpsichord; Chris “greatest hits” of the Renaissance performed Fritzsche, voice; Arthur Haas, harpsichord; on recorders and other early winds, viols, Kathleen Kraft, flute; Washington McClain, lutes, harpsichord and percussion. oboe; David Morris, ’cello and viola da “My experience attending the Early Music gamba; Michael Sand, violin and orchestra; Workshop exceeded my expectations. I am a Tangkao Tan, Baroque dance; Bob Worth, long-time student, performer and lover of chorus. Medieval, Renaissance and Baroque music. Contact: Phebe Craig or Kathleen Kraft, The instructor provided exceptional instruc- SFEMS, PO Box 10151, Berkeley, CA 94709; tion and he tailored the program for each 510-684-5177;
The 2008 Summer Texas Toot May 25-31, 2008 — featuring Alison Melville, Frances Blaker, and Mary Springfels
This year’s Toot will be held on the beautiful campus of Texas Women’s University in Denton, Texas. Classes, dining and housing are air-conditioned and easily walkable. Denton is easily accessible from the Dallas/Fort Worth Airport. The Texas Toot offers a one-week program of classes in Renaissance and Baroque music at all levels, featuring expert instructors in recorder, viol, early reeds, lute, harp, and voice. Boulder Early Music Shop will be in residence with sheet music, instruments, CDs and more. Danny Johnson, workshop director; Susan Richter, administrator. Visit our Web page, www.toot.org, for more info, or email [email protected].
March 2008 15 SFEMS MEDIEVAL & RENAISSANCE WORLD FELLOWSHIP WORKSHOP (ARS) EARLY MUSIC WEEK Sonoma State University, Rohnert Park, CA Chocorua, NH June 22-28 June 22-29 Directors: Louise Carslake, Director: Larry Wallach Hanneke van Proosdij Faculty of eight—including Jane Hershey, Join us for a week-long opportunity to work Roy Sansom, Pamela Dellal, Jay Rosenberg, with world-class specialists in Medieval and Julian Cole, Anne Legêne, Larry Wallach Renaissance music. This workshop creates a and Josh Sholem-Schreiber—in a beautiful OBERLIN BAROQUE supportive and friendly atmosphere for both White Mountain camp setting, conduct PERFORMANCE INSTITUTE advanced and intermediate participants, a week-long workshop in French early Oberlin College, Oberlin, OH amateurs and aspiring professionals. Fill music (late Medieval through Baroque) June 15-29 your days with ensembles, choir, technique including faculty and student concerts, Directors: Oberlin Baroque Ensemble classes, viol consort, Renaissance wind band, English country dancing, special lectures, (Cathy Meints, Marilyn McDonald, English country dance, continuo coaching, morning and afternoon workshops in Michael Lynn, Webb Wiggins) and concerts, lectures and informal concerts. viols, recorders, voice, mixed ensembles, artistic director Kenneth Slowik Scholarships as well as academic credit or Sephardic music and Baroque chamber Celebrating its 37th anniversary with Music continuing education credit are offered. music, and classes in Feldenkrais body of Paris, this Institute offers instruction in Recorder faculty: Louise Carslake, Rotem work. Baroque instruments and voice. Students of Gilbert, Patricia Petersen and Hanneke van Camp facilities include hiking, swimming, all levels—from beginning to Baroque Proosdij. Other faculty: Rebekah Ahrendt, boating; camp gardens supply kitchen with performance to the professional level— viola da gamba; Bruce Dickey, cornetto; vegetables. Very affordable rates. participate in master classes and coached John Dornenburg, viola da gamba; Jennifer Contact: Larry Wallach, 69 Welcome St., ensembles with an international faculty of Lane, voice; Christopher LeCluyse, voice; Great Barrington, MA 01230-1103; Baroque specialists. Scholarships are avail- Peter Maund, percussion; David Tayler, lute; 413-528-7212 (day); 413-528-9065 able for qualified high-school students. Margriet Tindemans, viola da gamba and (evening); 413-528-7365 (fax); Contact: Anna Hoffman, Conservatory vielle; Charles Toet, sackbut.
San Francisco Early Music Society Summer Workshops 2008 Recorder · July 20–26, 2008 La Dolce Vita di Flauto · Recorder music from the Middle Ages to the 21st century, including ornamentation and improvisation. Ensembles, technique, recorder orchestra. For the devoted amateur, all ages, intermediate to advanced. Friendly atmosphere, small classes. Special offerings: Recorder orchestra musical staging from Antoine de St-Exupéry’s The Little Prince, recorder master class, music history course, coached informal playing. Faculty: Janet Beazley, Frances Feldon, Katherine Heater, Lisette Kielson, Norbert Kunst, David Morris, and Herb Myers. Info: Frances Feldon, 510-527-9840; [email protected] Baroque Music & Dance · June 15–21, 2008 Master classes, concerto evening, Baroque dance, coached ensembles, classes, concerts, and lectures. Featuring recorder faculty Frances Blaker and Marion Verbruggen. Info: Phebe Craig, 510-684-5177; [email protected] or Kathleen Kraft, [email protected] Medieval & Renaissance Music · June 22–28, 2008 Ensembles, master classes, Renaissance recorder consort, lute songs, Renaissance wind band, medieval ensemble, Renaissance choir, concerts, lectures, and more. Featuring recorder faculty Louise Carslake, Bruce Dickey, Rotem Gilbert, Patricia Petersen, Hanneke van Proosdij and Margriet Tindemans. Info: Hanneke van Proosdij, 510-236-9808, [email protected] Music Discovery for Ages 7 to 15 · July 27–August 1, 2008 Early music and Renaissance social history. Instruction in recorder, harpsichord, strings, chamber music, music theory and ear training, crafts, costume-making, games, and more. Beginners to advanced students welcome. Featuring recorder faculty Louise Carslake and Letitia Berlin. Info: Letitia Berlin, 510-559-4670; [email protected] For more information, visit our web site: www.sfems.org
16 American Recorder Some people are drawn to Pinewoods EARLY MUSIC WEEK AT through their love of dance or the sounds PINEWOODS CAMP (ARS) of ancient music. If you have never played Pinewoods Camp, Plymouth, MA an instrument—or your musical skills are a June 26-July 3 bit rusty—there are classes designed for you. Director: Sarah Mead There are daily classes in English country The Renaissance Lustgarten—or Pleasure dance, as well as nightly dances for all. Garden—was both a place and an ideal, a And singers can join the chorus or take source of recreation and renewal for the part in smaller mixed ensembles. mind and the senses. In 1601, Hans Leo Early Music Week at Pinewoods has a long Hassler published his influential Lustgarten tradition of skilled teaching in a supportive neuer teutscher Gesäng, a collection of musi- community, enhanced by special events, cal delights; and the image of Jacob van Eyck presentations, concerts—and, of course, and "his little flute," playing for evening dancing. Advanced musicians can work strollers, is immortalized in Der Fluyten intensively, amateurs are challenged and Lust-Hof, which first appeared in 1646. This engaged and beginners are always made to summer, explore the music and dance of feel welcome. the Pleasure Garden, where the language of Contact: Steve Howe, Country Dance and flowers and birdsong served to inspire the Song Society, PO Box 338, Haydenville, MA musicians and poets of an earlier age, at 01039-0338; 413-268-7426 X3 (day); Pinewoods Camp—a modern-day place of 413-268-7471 (fax);
March 2008 17 Renaissance and Baroque music, and to GREAT LAKES SUZUKI FLUTE & bring acclaimed early music artists to the RECORDER INSTITUTE Midwest to perform in beautiful Madison. McMaster Institute for Music and the Mind, Featured MEMF 2008 guest artists-in- Hamilton, Ontario, Canada residence include Marion Verbruggen, July 5-12 (teacher training, Book 1) The Newberry Consort, Tempesta di Mare, July 8-12 (students) Baroque Band, and Quicksilver. Recorder Directors: David Gerry; co-directors faculty members include Marion Verbruggen, Susan Friedlander and Kelly Williamson Joan Kimball and Robert Wiemken. Master classes, group instruction, recitals, Contact: Chelcy Bowles, University of plus enrichment classes for students. Teacher Wisconsin–Madison, 720 Lowell Center, training with Mary Halverson Waldo. 610 Langdon St., Madison, WI 53703; Contact: David Gerry, Director, 905-525- 608-265-5629; 608-262-1694 (fax); 9549; 905-527-2669 (fax);
18 American Recorder 617-492-6723 (fax);
March 2008 19 Wood. Student Institute tuition: $380; Recorder faculty: Janet Beazley, Frances teacher observation fee: $27/ day; Feldon, Lisette Kielson, Norbert Kunst, SCHOLARSHIPS evening performance July 24. Herb Myers. Other faculty: Katherine Heater, harpsichord; David Morris, ’cello and viola for recorder players Contact: Mary Halverson Waldo, 5679 Hard- da gamba. to attend ing Lane, Shorewood, MN 55331; 952-470- recorder/ 5853;
20 American Recorder this energizing inter-generational workshop. ages welcome. Classes include recorder tech- MONTRÉAL RECORDER FESTIVAL Opportunities for independent recorder nique, viol consort, Baroque chamber music study and private lessons will enrich your McGill University, Montréal, QC Canada seminar, consort classes for Medieval, Renais- music-making experience. September 11-14 sance, Baroque and contemporary repertoire. Directors: Matthias Maute, Sophie Larivière Registration fee $50 prior to 5/15/08. Evening events: faculty concert, student Tuition, room, meals $535. Special half- Conference: consort music, recorder orches- concert, free-lance playing. Free Wednesday week rate $275 (Sunday-Wednesday noon). tra, concerts (solo recital by Pierre Hamon of afternoon for more playing or sightseeing. Member/family discounts. 3 hours graduate France; Ensemble Caprice playing Piazzolla). Improve your playing in a supportive, friend- credit, 3 CEUs and private lessons available. Contact: Ensemble Caprice, 4841 Garnier, ly atmosphere with world-class teachers. Contact: Phyllis Pasley, 2208 Clouds Peak, Montréal QC H2J 3S8 CANADA; Week I faculty: recorder: Letitia Berlin, Maryland Heights, MO 63043; 314-628- 514-523-3611; 514-523-1322 (fax); Frances Blaker, Louise Carslake, Annette 9862;
March 2008 21 2008 SUMMER RECORDER WORKSHOPS Boxwood Canada Canto Antiguo Hidden Valley Elderhostel Interlochen Inst Music Early Early Madison Festival Music Mideast Rec Montréal Festival Mountain Collegium Oberlin Baroque InstPerf Pinewoods Early Week Music SFEMS Baroque SFEMS Children's SFEMS Medieval Renaissance & SFEMS Recorder Toot Texas Whitewater Fest Mus Early Windswept Workshop Music World Fellowship $890 $801 $379 $735 $130 $890 $330 $740 $600 COST (CDN) $840 D T $475 D T $790 TBA ED $920 T $920 $710 E $245 $535 E NO. OF DAYS 7 77/146864714875777377 ARS DISCOUNT NO YESNONONONONONONONOYESYESYESYESYESNONONO NO. OF FAC/ RECORDER FAC. 11/1 8/5 5/4,3 1/1 25/3 10/7 6/6 12/5 20/1 18/9 12/2 7/2 13/4 7/5 12/4 12/9 8/3 NO. OF STUDENTS 60 35 35 20 110 60 50 45 80 100 55 30 70 40 50 110 32 RECORDER CLASS B,LI, B,LI, LI,HI, B,LI, B,LI, LI,HI, B,LI, LI,HI, B,LI, LI,HI, B,LI, LEVELS HI,A,V HI,A,V A,V LI,HI,A LI,HI,A HI,A,V HI,A,V A,V HI,A,V HI,A,V A,V HI,A,V A,V LI,HI,A LI,HI,A HI,A,V LI,HI,A C,MR, C,MR, MR, MB,20, MR, C,MR, C,MR, C,MR, C,MR, C,MR, C,MR, C,MR, C,20, C,MR, MB, SPECIAL CLASSES MB,EN, M,RO, MB,EN, MB,RO, MB,20, MB,M, MB, MB,MC, MB,EN, MB, MB, EN, M,RO, 20,M, 20,RO, C,MR, USING RECORDERS RO,P,T P,T M,P,T P,T M,T,O RO 20,T,O P,T RO,T M,P,T,O P,T,O P,T,O P,T,O P,T T,O P MB,O C,W,K, C,W,K, C,W,K, C,W,K, C,W,P, NON-RECORDER V,PS, C,W, C,W,P, V,PS, C,W, W,V, V,PS, V,PS, K,V, K,V,PS, C,W,V, C,W,V, CLASSES D,T V,D K,V,PS K,V,PS D,T,O PS,D D,T,O D D,T D,T,O D,T,O D,T,O O PS T,O K,M,O D MUSICAL S,L, F,S,L, F,S, F,S,L, F,S,L, F,S, F,S,L, F,S,L, F,S, ACTIVITIES F,S,L,P F,S F,S,P SP,O P,O L,P F,S,L SP,P SP,P,O SP P,O P,O F,S,P S,P,O L,P
D,F,B, S,T,W, D,G,B, D,G,B, D,G,B, D,F, RECREATION S,T,W,0 D O O D,G,O S D,G,S D,S,W S,T D S,T S,W
OTHERS WELCOME S,C S S S S S S,C S,C S S S,C S,C
DIRECT B,C,L, S,B, S,B,C, B,PU, TRANSPORTATION PU,P B,C,L,P C,PU,P C,PU,P PU,P P S,C S,C,P S,C,P L,P S,PU,P P P A10, A20, A10, A30, A50, A20, A12, A60, B3, B20, A16, A5, B10, B20, B15, B2, B4, TERMINALS B1 T5 T20 B16 B1 T10 T20 T15 A59 T5 A59 T1 A40 A B10 ROOMS S S,D S,D S,D,C S,D S,D S,D S,D S,D S CALL S S S,D S,D+ S,D BATHS SPSPPSP SPSSP PSPS S,SP FOOD F,V C,V FC,V C C C,G,V C,V F,V C,V C,V C,V CC,V F,V HANDICAP ACCESS C,D H,C,D H,D H,C,D H,C,D H,C,D H,C,D H,C,D CALL H,C,D C H,C,D H,C,D H,C,D C,D 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 TERMINALS: A=air, B=bus, T=train (number indicates miles from workshop to nearest terminal) ROOMS: S=singles, D=doubles (some 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 INFORMATION SUPPLIED HANDICAP ACCESS: H=housing, C=classrooms, D=dining BY WORKSHOP DIRECTORS
22 American Recorder ON THE CUTTING EDGE ______Farewell and Hail! ith the death of Karlheinz So we say farewell to this innovative released in 2006 WStockhausen at age 79 on master of musical dreams. by Naxos. Among December 5, 2007, the music world has the seven compo- lost one of the titans of mid-20th-century sitions on the music. Of interest to recorder recording are three Emerging mid-century—along with players is Stockhausen’s that feature the such composers as Luciano Berio, Pierre recorder. Boulez, Luigi Nono, and Bruno work, about which Sonatine for alto Maderna—Stockhausen expanded the recorder and piano was written in 1996. It innovations of Arnold Schoenberg and I have written in is a lyrical work in which the two Anton Webern into the realm of total instruments are effectively balanced. serialism. Such masterpieces as his earlier columns, Les points d’orgue de la Saint-Jean work for four orchestras, Gruppen; his Tierkreis (Zodiac). (Organ Points of St. John), composed piece for piano and chamber orchestra, over the years 1970-95, is a solo piece Kontrapunkte; his series of solo piano The music consists of using both recorder and flute in a pieces; and his piece for unaccompanied strange dialogue between old and new— voices, Stimmung, create sound worlds 12 melodies, one for incorporating playing/humming, glis- not easily forgotten. His was a unique each sign of the zodiac. ... sandi, multiphonics and disjunct creative voice in the world of contempo- melodic motion in free rhythm. Moments rary music, with an influence well I find that these of vigorous activity contrast with passages beyond the conventional classical com- of zen-like stillness. munity. Jazz musicians such as Anthony charming pieces Most striking is Viva Emiliano for tenor Braxton and rock musicians including recorder and timpani. This is not an The Beatles were influenced by work beautifully on instrumental combination that has Stockhausen. It is likely he will be recorder accompanied ever occurred to me, but it works bril- judged by future generations as the major liantly for Meynaud. German composer of the 20th century. by guitar, harpsichord The title refers to Mexican revolution- The last 30 years of his life were ary Emiliano Zapata. This is exciting devoted largely to the composition of his or clavichord. music that packs a great deal of activity enormous opera, Licht (Light). This series into its efficient 4.5-minute duration— of seven individual operas—one for each Among the living, I am happy to report a major work for recorder! day of the week—took Stockhausen my discovery of some fine music for the All of the music using recorders is 26 years to complete. At the time of his recorder by French composer Michel played beautifully on the CD by Joseph death he was working on Klang (Sound), Meynaud. Born February 23, 1950, Grau. a series of chamber music works intended in Paris, Meynaud studied in Lausanne, Meynaud’s music is published by for each hour of the day. Munich, Montréal and New York City, Editions Combre in Paris. The Naxos CD Of interest to recorder players is and has appeared in performance as is called Michel Meynaud Chamber Music Stockhausen’s work, about which I have pianist, organist and conductor. A very and is Naxos No. 8.557191. It also written in earlier columns, Tierkreis enjoyable CD of his chamber music was includes a solo Sonatine, for double bass (Zodiac). The music consists of 12 violin; a Chaconne for solo violin; and two melodies, one for each sign of the SWEETHEART works for solo ’cello, Faust I and Sonate I. zodiac. Originally created to be played by FLUTE CO. The composer’s web site is specially-designed music boxes, the work
March 2008 23 The Flute Master: A Recorder Fairy Tale by Han Tol nce upon a time, a flute master Only a few flute players remained O enchanted many of his listeners with true to their instrument. One of them, his magical playing. He was very hand- although not as talented as the old flute some, slim and tall, and seemed to know master or some of his colleagues, was In 2007, Han Tol celebrated his all about the secrets of music, which is fascinated by the instrument and by its 25th anniversary as a recorder pedagogue. why many students of the flute and sound. He played one very sweet tone He fondly dedicates this fairy tale to recorder wanted to learn from him. a day, and the rest of the tones he his many students, who were the story’s Although he seemed the perfect teacher, imagined in his mind where the music inspiration. It was first published in learning from him was not a simple was heavenly and pure. One only had to German in Tibia in 2007, and is matter: ideas obvious to the flute master produce that ethereal sound in real life. reproduced in English here with the were not easy even for extremely gifted As he became well-known himself, he kind permission of Moeck Verlag, students to grasp. became a soloist and started to travel, as Celle, Germany. One day the flute master taught an did the old flute master. The new master exceptionally gorgeous girl. She played a even started to teach two students who ricercata for him on her fine Renaissance wished to learn from him. recorder and looked deeply into his One of them came from an exotic, eyes after having finished it off with an faraway place and did not yet speak the elaborate cadence. language of the new master. The other “Her recorder looks good, but sounds student was a local, very quick and intelli- rather dull,” thought the flute master. gent. He had studied the gods, nature and He offered her the following bit of his people for years, and he also knew every- wisdom: “You will never be happy with thing about happiness and luck. The time your flute if you don’t fill it with air.” had come for him to make the last little The girl did not really understand what push into revelation. this meant. She thought that perhaps her teacher was in a state of confusion caused The time had come for by her beauty. The master, sadly enough, had just told her his deepest secret, but the girl did not get it. him to make the last little It made him feel very lonely. This happened several times in the push into revelation. years to come, and it made the master doubt his own playing and teaching more The exotic student came to his first and more. One day, as he was a true lesson. He bowed very deeply as he master and virtuoso, he decided to change entered the room. The master bowed too, his path, and soon he became a famous a little surprised. Slowly and carefully, the conductor. student unpacked his recorder and put Some bright flute students remained the parts together. Then he pointed to who, despite the absence of the old the instrument and motioned to the master, still wanted to continue their master to try it. He bowed again and studies as wind players. They were stepped backwards. convinced that they were on the right After some lessons, the master became track: “If you blow the right notes, you aware that this student always kept a are good!” They practiced with certain distance. In the student’s culture, dedication. But alas, after some time a master was so highly esteemed that it they got tired and frustrated. If even was shameful and disrespectful to tread the great flute master did not play upon his shadow! The master found that anymore, but became a conductor, what a sweet thought. were they then supposed to do? The intelligent local student came to They thought that perhaps the his lesson with a thousand questions. The secret was to conduct and have the master felt a little overwhelmed. He could orchestra do all the work for you. not easily answer any of them. They started to practice beautiful Instead, he started to tell a story about body movements in front of a mirror. a man who enchanted every listener with
24 American Recorder his violin playing. Like a magician, he In the following lesson, the exotic A week later, the intelligent student knew the secret; he knew everything student appeared. He bowed deeply and played the concerto, rapidly and brilliant- about silence, about time and bowing. smiled at the master while forming a ly. The master said that he was impressed Often he went into a forest, all by little cushion with his hands and putting by the sheer speed of the many notes. The himself. There was a large bush, neither his own head on it gently. The master student was terribly pleased. The master very beautiful nor striking. The magical had to laugh: yes, he had slept very well, said no more.... violinist thought it was important also to thank you! The exotic student came, bowed, take an interest in bushes that were not The master asked the exotic student unpacked his instrument in the serenely particularly beautiful or striking. the same question. Despite the fact that he calm manner that was so characteristic of He discovered that that bush was teem- came from afar, the student had been him, seated himself and started to play ing with life. Columns of ants walked up quickly acquiring a command of his a ricercata. The master did not recognize and down the branches; spiders created master’s language, which he now spoke this one, although he thought he knew their intricate webs, and even a turtledove with an uncommon mellowness. the complete repertory. It was breath- had built its nest in it. He explained that he did not sleep takingly beautiful. The color of the leaves was anything well, because he felt sorry for not having During the seemingly endless final but uniform. They changed constantly, found the way to the secret of music yet. tone, the student’s gaze rose. The master fell down regularly and grew back with The master started to tell the story of was irresistibly drawn to follow his fresh new spirit months later. An over- the magical violinist and the bush. student’s upward glance. whelming spectacle; breathing in and out The student did not interrupt him. There was a long silence. Neither one in slow-motion, up- and down-bow: When the master had finished the could breathe. It felt like a short eternity. that is how the magician interpreted it. fable, the student glanced sadly at him Finally they looked towards each other, The beauty of nature surpasses all art. with tears in his eyes. He stood up, bowed an expression of disbelief and surprise Startled, the flute master looked into exceptionally long and deep, and left the on their faces. the cold eyes of the intelligent student master alone in his room. The master Stutteringly, the master asked what who had just interrupted him with a remained motionless for quite some time. such an experience was called in the brusque movement of his right hand. He was so happy that he had managed exotic language of the student. ”Ping!,” “That story is all of no consequence, nice to tell the story of the secret of music— was the answer. They both smiled. entertainment, but that is not the reason as the old master had tried so many years “Ping!,” thought the master with for my being here. Now tell me how to ago with the beautiful girl. Now he could complete and utter joy. He had just play this concerto.” The flute master told only wait to see if the seed of thought he learned the one thing that had been him how to play the concerto. had planted would bear fruit. missing: the name of the secret.
... are also available at The Early Music Shop of New England, Brookline, MA
March 2008 25 BOOK
______REVIEWS ______Fred Morgan remembered, ______Early music in the 21st century
RECORDERS BASED ON HISTOR- He returned from the Netherlands to from Brüggen’s ICAL MODELS: FRED MORGAN, Australia, and, working out of the small collection. Several WRITINGS AND MEMORIES, COMP. town of Daylesford, he kept the best of Morgan’s fasci- BY GISELA ROTHE. Conrad Mollenhauer recorder players in the world supplied nating schematic GmbH, 2007. 208 pp. Cloth. $59. with instruments until his tragic death in drawings of origi- ISBN: 978-3-00-021215-4. a car accident in 1999. (See the May nal recorders are Fred Morgan is probably the most 1999 AR for brief tributes.) also reproduced. renowned recorder maker of our time. His workshop has continued to pro- The book serves Starting his career in the 1960s as one duce instruments, and has entered into an admirably its pri- of Australia’s first professional recorder association with Mollenhauer, who have mary purpose as players, he soon began making instru- published this impressive tribute to the a memorial to ments. In 1970, he traveled to Amsterdam man and the craftsman. Compiler Gisela Morgan’s life and in order to examine historical instruments Rothe has organized contributions from work, showing him to have been a firsthand and to make contact with Euro- over 50 performers, makers and other warm, generous person who devoted pean recorder players, especially Frans colleagues, interspersed with several of himself completely to his art. It also Brüggen. With a combination of technical Morgan’s own writings about the recorder. provides a series of intimate glimpses into skill, professional experience, and natural The oversized book is abundantly illus- the world of international level recorder talent, he was able to fashion recorders trated with color photographs by Markus makers and performers, and takes us back that captured the best qualities of the Berdux of Morgan’s own recorders as well to the heady days at the beginning of originals without being slavish copies. as several antique instruments, principally the modern early music movement. Performers from Marion Verbruggen to Michala Petri tell of Morgan’s ability to match their playing styles with instru- Strings & Early Winds ments that were colorful, immensely R responsive, and almost indestructible, Modern/Baroque Strings Viols Vielles due primarily to Morgan’s practice of Küng Moeck Mollenhauer Paetzold Yamaha breaking in his instruments thoroughly E Aesthé Dolmetsch Ehlert K&M before sending them to clients. Portions of the book have been trans- Wendy Ogle Lu-Mi Ifshin Snow lated from other languages, and there are C Competitive Prices a few awkward phrases. As well, American Sent on Approval recorder maker David Ohannesian’s name Personalized Service & Advice is spelled incorrectly. These are very small O points, however, and anyone seriously in- terested in the recorder will find this book R a treasure trove of information and insight. VIVALDI’S MUSIC FOR FLUTE AND RECORDER, BY FEDERICO MARIA D SARDELLI, TRANSL. MICHAEL TALBOT. Ashgate, 2007. 358 pp. Cloth. $99.95. ISBN: 978-0-7546-3714-1. E Antonio Vivaldi wrote some of the best and most challenging music for the recorder and flute, but there are important R questions surrounding many of these Lazar’s Early Music pieces, especially in regard to the exact (866) 511-2981 [email protected] type of instrument Vivaldi had in mind S www.LazarsEarlyMusic.com for his music. Italian musicologist—and 292 Gibraltar Dr., #108, Sunnyvale, CA 94089 player of recorder and Baroque flute— Federico Maria Sardelli has taken on the
26 American Recorder challenge of resolving as many of these “recorder” keys for the flute for the special even through the act of composing in questions as possible, and this book tone color they produce, and as part of period style. convincingly brings to light answers to his quest to pose especially virtuosic Although presented in a carefully many long-standing problems. challenges for the performer. organized manner and based on extensive The volume begins with an overview of This book is required reading for any- background reading (evidenced by a the flute and recorder during the Italian one interested in Vivaldi’s flute and 16-page bibliography), this book is as Baroque, with side glances at their posi- recorder music—and, indeed, for anyone much a cri de coeur as a critical essay. tion in the rest of Europe. Vivaldi’s music interested in the history of those instru- Haynes clearly has a deep commitment for the two instruments is then surveyed ments generally in the Baroque. to the early ideals of the movement— work by work in chapters organized by particularly the search to find a means genre, such as solo sonatas, trio sonatas, THE END OF EARLY MUSIC: A of expression that is artistically authentic, chamber concertos, etc., culminating with PERIOD PERFORMER’S HISTORY inspired by the rediscovery of the music the 21 vocal works that include parts for OF MUSIC FOR THE TWENTY-FIRST and performing practices of the past. His flute or recorder. CENTURY, BY BRUCE HAYNES. Oxford many incisive but fairly-stated criticisms University Press, 2007. 304 pp. Cloth. single out the musical practices of our $35. ISBN: 978-0-19-518987-2. own time that inhibit the ability of the Reading The End of Bruce Haynes has been an important individual musician to communicate member of the early music community most effectively with an audience. Early Music is like since the 1960s—as an orchestra member In the end, his fascinating central idea and soloist on the Baroque oboe, as a seems to be that a rhetorically-based teacher, and as a musicologist with spe- æsthetic was shared by all the arts before taking part in one cialties in the early oboe and the history of the Romantic era; that a shared æsthetic performing pitch. His new book, The End is capable of reinvigorating the arts in of those after-concert of Early Music, is a wide-ranging analysis the 21st century, now that the of the history, current state, and projected Romantic æsthetic is a spent force; free-for-alls at future of the early music movement. and that the early music movement can Haynes is one of the most thorough be in the vanguard of this artistic and scholarly of musicologists, yet his revolution if it stays in touch with the the local pub. books are often also quite entertaining. rhetorical æsthetic. The end of “early Reading The End of Early Music is like music,” then, will be the point at The book closes with a summary list of taking part in one of those after-concert which early music becomes itself the all the works discussed, a substantial bib- free-for-alls at the local pub, as Haynes predominant cultural force. liography, and an index. It also includes 11 unreservedly takes on a number of topics Whatever one thinks of this breathtak- plates and dozens of music examples. of lively interest to the early music ing thesis, it is both thought-provoking Sardelli has two principal strengths. world—from the value of basing a and entertaining to follow Haynes’s His intimate acquaintance with both the performing style explicitly on the practices arguments. Although there are very few Baroque flute and the recorder gives him of the distant past, through the relation music examples, there are many sound an insight into the repertoire that, for of early music to mainstream classical clips referenced in the text and available instance, allows him to tell “by feel” that music, to the responsibility of early music on Oxford’s web site (though not always certain alterations found in Vivaldi’s performers to constantly renew and in the order stated in the book). manuscripts have been made in order to enliven their approach to music-making, Scott Paterson make the passagework more congenial to the player. At the same time, his encyclopædic knowledge of flute and Collins & Williams recorder music in the Baroque allows him to state confidently that the themes in Historic Woodwinds a certain work by Vivaldi appear in no On May 1, 2008, I will retire, other music for flute and recorder from and Collins & Williams Historic the early 18th century, since he has actu- Woodwinds will close. No orders ally examined over 1,500 other pieces. or repair work will be accepted Sardelli’s treatment is exhaustive and after April 15. likely definitive in regard to favorite topics My thanks and best wishes to such as the true author of Il pastor fido, and all my customers and friends the nature of the instrument for which the in the recorder world. “flautino” concertos were composed. However, he also brings to light many Lee Collins other fascinating and unexpected facts. 5 White Hollow Road For instance, it would seem that Vivaldi Lakeville, CT 06039 favored the flute at the beginning of his (860) 435-0051 career, but the recorder in his later years. www.leecollins.com He also seems to have written in
March 2008 27 ______EDUCATION ______A conversation between two Suzuki recorder teachers: Mary Halverson Waldo interviews Claire Heinzelman MHW: First, catch me up on where you School Volume 1), about 50 percent play CH: I do think adding words to the are teaching. “French Children’s Song” (ninth piece) melodies anchors these tunes for many CH: I am currently teaching at Edith and about 20 percent—who put in a lot kids. Besides, I am a singer! I just gravitate Landels Elementary School and Castro of practice time outside of class, and to the voice first. Elementary, both in Mountain View, CA. have facility in reading notation—actually play “The Finch,” “Claire de Lune,” and MHW: The Suzuki Method typically MHW: What are your general responsi- “Honeybee” (pieces 10, 12 and 13). involves the student listening to recordings bilities? There were several at each school last of a selected repertoire, and it also involves CH: I am responsible for teaching recorder year who got “Twinkle” (piece 14), a parent or other appointed adult who and introduction to music notation to and did so on their own, for the class attends the lessons, takes notes on what fourth-graders. I also teach a course never even tried that piece. I had made and how to practice, and plays the in World Music Cultures, called “Music Home Play Sheets for them, which include recordings regularly at home. How are in Action,” to fourth- and fifth-graders. the song’s music notation, the words, you adapting the Suzuki Recorder Method It is a fully packed schedule, for I have 22 and the Kodály syllables. for the public school music experience? 45-minute sessions with the fourth grades CH: I have given the classroom teachers to make both happen! This is usually over MHW: I know that the subtleties of recorder each a copy of the Suzuki Soprano Recorder the course of seven-and-one-half months, articulation can be tricky to teach when CD (Volumes 1 & 2) to play when they including school vacations/breaks. working with a large group. Can you describe can. I do not think they do it much, any particular methods that work for your but last year one teacher did—and it MHW: Having worked with some of your students? showed! energetic, impassioned students in master CH: Teaching articulation is tricky in classes at the Suzuki Method Recorder a class of 30, but here is the systematic MHW: How did it show? Institute in Mountain View last July, I’m approach I use: CH: It showed in the accuracy of pitches, amazed that you are able to accomplish so 1. We sing the song (i.e., “Suo Gan”). volume of repertoire learned, and speed at much with them in such a limited amount of 2. We sing the articulations: which the class actually learned the tunes. time. tu du du, du du du, etc. They had fewer problems with over- CH: It was last year that I decided to 3. We sing and do pitch signals blowing and had a more musical tone. For switch to a modified Suzuki approach, (hands on shoulders, ears, top of the most part, in these large classes, we in an attempt to help bring a feeling of head), which helps those who are must rely on teacher demonstration and success more quickly to a population in having difficulty discriminating rise students playing back. which outside exposure to music is pretty and fall of pitch. minimal. The Suzuki Recorder School’s 4. With mouthpiece on chin, we finger unique way of setting up the instrument without blowing … several times. The students enjoy our for beginning students has really helped 5. The teacher plays while the class with the initial success of finding the right watches her, and they move fingers bowing, at the beginning pitches! [Suzuki recorder students start simultaneously. with tape covering many of the instru- 6. Teacher and class play the song and ending of the class ... ment’s holes, allowing them to focus together (using breath, tongue and on one or two fingers at a time and to fingers). and to this we have practice good hand position as the tape is I listen to articulation in the small gradually removed.] groups’ playing. I also demonstrate with added a spoken line, breath (unvoiced) and articulation on the MHW: I agree that the Suzuki “set-up” is backs of the students’ hands. “To beautiful music.” definitely helpful in focusing the students on finding the beginning (right-hand) pitches— MHW: So you offer kinesthetic, as well as This helps us time not to mention a good position in both hands visual and aural learning experiences. from the start. You also mentioned singing. Having our graceful bow, What about the rate of progress when you worked in a Waldorf school, where electronic are working with large groups, but lack the media were not in use, I found that getting and also reminds us additional individual lessons that usually go the recorder classes to actually sing the along with the Suzuki Method? Suzuki repertoire (often with my own of what our time CH: The majority of students in my invented words) was a wonderful enhance- classes end the year playing “Cuckoo” ment to their learning process. together is all about. (the eighth piece in Suzuki Recorder
28 American Recorder MHW: As with any instrument, it helps if to cover this in class time when all the teacher has a good sound in order for students (not just the eager beavers) It is sufficient the students to have a good sound. And it’s benefit. great when they can hear recordings of a We have 16.5 hours over 22 weeks to help students variety of wonderful performers at home or at of class time with our students. Of that learn that they school. I consider Marion Verbruggen, the time, we teach “Music in Action” for Suzuki Recorder Method’s recording artist, 5 hours, leaving 11.5 hours for class can create to be an important “teacher” of my students instruction on recorder. Classes range as they listen daily at home. from a low of 27 students to a high of beautiful music! CH: With Suzuki Method in the schools, 32 students. Needless to say, this is the student is missing the home adult anything but perfect. We can always hope for more, but support of guiding the practicing and That said, by year-end the students this is what we have. It is sufficient to playing the recordings. However, I have have a correct handhold, good posture, help students learn that they can create used the reverence for music and respect a gentle breath and reasonable pitch beautiful music! for teacher and student as a guide—all and tone quality on seven, eight or more to the advantage of teacher and songs. They comport themselves well MHW: Thanks Claire, for sharing your students alike. and are thrilled to have performed pedagogy ideas; and also for your stories The students enjoy our bowing, at the beautiful music in our year-end concert of successful, motivated recorder students. beginning and ending of the class … and for other students and parents! to this we have added a spoken line, “To beautiful music.” This helps us time our graceful bow, and also reminds us of what our time together is all about.
MHW: Suzuki has a deep goal of producing beautiful, respectful human beings through exposure to good music; and through a positive but disciplined approach to learning an instrument. I have heard Suzuki string teachers in the public schools say that the school teachers (of music and/or the classroom) can become the “Suzuki parent” for the students. The teachers can have a strong daily influence on the kind of music listening, motivation and monitoring of home practice that goes on (with practice charts, etc.).
CH: I do motivate the students with Barb Philipak’s system of awards for accomplishment. She is an elementary teacher and author of Recorder Karate, A Highly Motivational Method for Young Is Suzuki teaching for YOU? Players. With each skill set mastered Do you have solid instrumental skills? and/or song(s) played to demonstrate Do you enjoy working with children and families? proficiency, the student is awarded a 7” If so, Suzuki teaching may be for you. ribbon that (s)he then ties onto a safety pin and attaches to the recorder case. Trained Suzuki teachers are in great de- It brings a great deal of excitement to mand throughout the U.S., Canada and the process and the kids love testing around the world. Training is available days when they can show off their ability. at summer institutes in more than 60 lo- If they are not yet proficient enough to cations throughout North America for “belt” in that song, they are encouraged violin, viola, cello, bass, piano, flute, to practice more (to improve the weak guitar, harp, recorder, organ, voice and points) and test again the following early childhood education. week. I am doing less overtime teaching this year, but last year I was always For more information call SAA surrounded by 10 or more students at toll free at: 1-888-378-9854 recess and lunch period who wanted to or visit our website: test or just fine-tune the points they www.suzukiassociation.org were working on! This year I am trying
March 2008 29 CHAPTERS & CONSORTS ______American, Spanish, Celtic—chapters cover the territories and times American Recorder Orchestra of the meetings and posted them as MP3 files Latin American pieces, including the West, directed by Richard Geisler, gave on its “unofficial” chapter web site, Peruvian favorite, El condor pasa. This set a concert in Los Gatos, CA, on March 9.
30 American Recorder agréments. The group applied them to Circle (two volumes of rounds, canons and various pieces of music that O’Malley imitative music) and A Musical Almanac, had selected—and it also found the an aptly-named recent publication of segment of transposition exercises to be music celebrating the seasons of the year. surprisingly interesting . In celebration of the Greater Cleve- Triangle Recorder Society hosted a land (OH) Chapter’s 40th anniversary, February workshop with Frances Blaker Carolyn Peskin and Julie Washington in Durham, NC, followed by a concert/ opened the November chapter meeting Lost in Time Press CD release party featuring Ensemble with a performance of music donated to Vermillian, with which Blaker plays. the chapter library many years ago by New works and The chapter also has a new home for its founding members Sid Silber and Harry music library, previously tended well by Cagin. The two played three selections arrangements members Mike Mendelsohn and Philip from Peasant Songs and Dances (violin for recorder ensemble Stiles: recorder pieces are now stored and duos by Bela Bartók, arranged for available during business hours at recorders by Hans Ulrich Staeps) and a Compositions by Pearson Music in Durham. motet by Heinrich Isaac. A new mentor program being tried by The Denver (CO) Chapter welcomed Frances Blaker the Recorder Society of Long Island a new meeting leader in January, Kaitlin Paul Ashford (NY) has been declared a success. During Odil, whose diverse musical credits group playing, those feeling insecure include serving as a associate director Hendrik de Regt about tackling the piece alone may sit and percussionist for The Denver Brass and others next to a mentor for moral and musical and as keyboardist/ administrator for support. Finding a mentor is easy: they "Dave LeMieux & House of Soul." She Inquiries: wear music-note halos. led the group in “The Celtic Recorder,” Letitia Berlin, ever on the go these selections reflecting her interest in penny- Corlu Collier days as ARS President, led the South Bay whistle and Celtic music. (The chapter PMB 309 (CA) Recorder Society in its first meeting newsletter reports that she is a featured of the new year. Two of the works from soloist on soprano and alto recorders on 2226 N Coast Hwy which selections were played were The Denver Brass CD and DVD, Brass, Newport, Oregon 97365 collected by Shira Kammen: Music in a Bagpipes & Co - Live!) [email protected]
CHAPTER NEWS Chapter newsletter editors and I wish we had Maybe I publicity officers should Someone is flat, some new should order the send materials for publication in music to play. new ARS Consort American Recorder to: and it’s not me! AR, 7770 South High St., Handbook… Centennial, CO 80122-3122,
March 2008 31 MUSIC REVIEWS ______Music you’ve been waiting for, ______from around the world, and off the beaten path
TRIO SPIELBUCH II, ARR. ULRICH better on low choir. Scores are clearly change, and then ends abruptly with HERRMANN. Noetzel Edition N 3976 printed, and there are no page turns little or no cadential preparation. (C. F. Peters), 2006, Varied instrumenta- in this quintet edition. Funeral March is in 3/4 and is marked tion. Sc 39 pp. $19.95. Earlier similar collections by “Solemnly.” I wonder why he didn’t QUINTETT SPIELBUCH II, ARR. Hermann were reviewed in the mark it “grave?” After all, the music is ULRICH HERRMANN. N 3978 (C. F. September 2006 American Recorder. One from “down under.” Eccles must have Peters), 2006. Varied instrumentation. big difference here is the price. The had some rationale for including a 3/4 Sc 48 pp. $19.95. previous collections were around $13, funeral march in a birthday suite, but it In his foreword, Ulrich Herrmann whereas these are both $19.95. escapes me. tells us that these second-volume books This could be a financial burden on a Mazurka is marked “fast” and is best may be used as appropriate sequels to consort needing five (or more) copies played one beat to the measure. Our con- the corresponding first books in the of the quintet book. Yes, there are 28 sort felt that this one was the most suc- series. He also states that these second pieces, and if all or most are found cessful in that the theme is more obvious books contain a wider selection of worthwhile, it might be considered a and it is more cheerful and like “Happy different composers, with most selec- bargain. But this quintet book would be Birthday.” tions being parts of larger works. most useful to a large consort with a All parts are easy to read, with no page I have been unable to find any bio healthy budget and with low choir turns, and could be played by most information on Herrmann except that he capabilities. intermediate consorts. resides in Verden, Germany, and has produced many other recorder arrange- HAPPY BIRTHDAYS, BY LANCE ECCLES. BRAZILIAN FOLK SONGS, ARR. DAVID ments and compositions. Orpheus Music OMP173, 2007. SATB. GOLDSTEIN. Provincetown Bookshop This trio book contains 23 arrange- Sc 8 pp, 4 pts 3 pp ea. No price provided. Edition 48, 1984. SAT, STB. 3 sc, 7 pp ea. ments of music from the 16th century This Australian composer has been a $9.95. through the 20th century. One original member of the Reluctant Consort, a BRAZILIAN FOLK SONGS FOR work by Herrmann is also featured. Most Sydney-based recorder group, since FOUR, ARR. DAVID GOLDSTEIN. Province- of the pieces call for AAT or ATB. They 1982. Nearly all of his recorder compo- town Bookshop Edition 49, 1984. SATB. range from easy to difficult but would be sitions and arrangements have been 4 sc, 5 pp ea. $5.95. appropriate for most intermediate con- written either for that group or for meet- David Goldstein (1918-2003) was an sorts. ings of the Sydney Society of Recorder avid recorder and gamba player, compos- The scores are easy on the eyes, and Players. He recently retired from being er and arranger. He was the first recipient the publisher has craftily used fold-out a senior lecturer in Chinese at of the ARS Presidential Special Honor pages to avoid page turns in the longer Macquarie University. Award, presented to him in absentia dur- works. ing the 2003 Boston Early Music Festival. The quintet book has 28 pieces rang- Funeral March is in 3/4 His personal and musical contribu- ing from the 16th century through the tions to the recorder world and to the 19th century, including many by Bach and is marked “Solemnly.” ARS are substantial. His Brazilian Folk and Telemann. Instrumentation varies Songs, at least in trio form, have been from sopranino to great bass, but the I wonder why he didn’t around since 1984. I find it surprising lower instruments tend to have less that they have not been reviewed before. gratifying parts. (Our consort prefers mark it “grave?” The songs are short and have Por- the arrangements in the trio book tuguese and (thankfully) English titles. because all parts are more interesting.) Happy Birthdays is a suite of three There are no page turns and the printing Doubling the bass at the octave by movements: Tango, Funeral March and is clear. The songs would all be appropri- using contra bass is an option in two Mazurka. Eccles has attempted to use ate for intermediate consorts. quintet arrangements. the “Happy Birthday” theme in each The only commentary is by Joel Three of these pieces call for both movement, but it is broken down into lit- Newman in the four-part book: “David sopranino and soprano, resulting in tle snippets. A listener without knowl- Goldstein’s charming Brazilian Folk what can be a tuning nightmare. Our edge of the title might have a hard time Songs set for recorder trio (PBE No. 48) consort found that these and several recognizing the theme. have enjoyed so much interest that we’re other quintets, particularly Bach’s The Tango, having no tempo indica- putting his precious few quartet “Sinfonia” and “Gloria,” sound much tion, plods along in 4/4 with one key settings into print. Only four of them!
32 American Recorder Were David here, he’d instantly produce double that number, but alas!” A few comments from Goldstein concerning ARS Membership Enrollment and Renewal I am a new member I am or have been a member the source for these songs would have been welcome, but now are unfortunate- U.S./Canadian Memberships Foreign Memberships ly impossible. $45 One Year $55 Foreign One Year (Cléa Galhano, who came to the U.S. $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years from Brazil, has shed more light on this. $80 Two Years LIFETIME MEMBERSHIP She says she grew up listening to these Single Dual tunes—which she says were very popu- Regular Lifetime Member $1,000 (2) $1,500 (4) lar, long before 1984, as children’s folk 4 installments of $250 available) songs. She uses them frequently, and Loyalty Lifetime Member (1) $ 800 (3) $1,200 (4) helped with translations in the editions.) 4 installments of $200 available (1) For members who have maintained membership for five consecutive years. Our consort preferred the trio settings (2) $750 is Tax Deductible and feel that a few of the songs from (3) $600 is Tax Deductible either book could add variety and spice (4) Installments available to a program. We also found that adding a little percussion to some of the songs Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership added interest. $25 U.S./Canadian One Year $125 One Year Business Membership $45 U.S./Canadian Two Years KING WILLIAM’S RAMBLES, $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name ARR. PAUL LEENHOUTS. Moeck, ZfS 805 (Magnamusic), 2006. SATTB. Sc 6 pp, Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory 5 pts, 1 p ea. $7. Do not release my name for recorder related mailings Paul Leenhouts holds a Soloist Diplo- Do not contact me via email. ma from the Sweelinck Conservatory in Amsterdam, where he has been on the My address, telephone and email address are the same as last time. faculty as professor for recorder and ______historical development since 1993. A Name Phone Number founding member of the Amsterdam ______Loeki Stardust Quartet (playing with the Address/City/State/Postal Code Email Address group from 1978-2001 and recently rejoining it)—and from 2002 the direc- Please charge to: (Circle one) VISA/MasterCard/AMEX/Discover tor of the contemporary music collective CC#:______Expiration Date: ______Blue Iguana, and also from 1997 direct- ing the Renaissance recorder consort The Signature of cardholder:______Royal Wind Music—one wonders how he also finds time to be a composer, Clearly Print Name as it appears on Card:______Renew by Mail, Online, By Phone or by Fax arranger and editor of works for recorder. In his preface to this work, Leenhouts Demographic Information tells us that it was arranged as an encore (optional information collected only to enhance ARS services and provide statistics to grant makers): piece for The Royal Wind Music and per- formed during their tour in Ireland in I am a member of ARS Chapter or Consort______ I am the Chapter Contact 2000. He also suggests that ensembles Your age: Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) should be inventive by varying instru- mentation and repetitions and by adding Please check all that apply: typical Irish playing elements into the I am a Professional Recorder Performer. performance. I wish to be included in the list of Recorder Teachers in the ARS Directory and website. This work would be a real challenge I Teach: (circle your choices) for the average consort. The soprano, Children High School Youth College Students Adults alto and first tenor parts require nimble Beginner Intermediate Advanced Pre-Professional and skillful fingers, especially if an Individuals Children’s Classes Adult Classes Ensembles attempt is made to honor the suggested Suzuki Orff JRS Leader Kodaly tempo: .=140 in 6/8 time. Adding the Where I Teach: : (circle your choices) written-out Irish embellishments at this Music Studio Public or private school Community Music School tempo presents even more challenges. College Other : ______Other parts are somewhat easier, but Phone: 314-966-4082 the second tenor part, which stays in American Recorder Society Fax: 314-966-4649 the lowest register much of the time, 1129 Ruth Dr. TollFree: 800-491-9588 might be better played on a bass that St. Louis MO 63122-1019 [email protected] has a reliable high G. www.AmericanRecorder.org
March 2008 33 American Recorder Society Publications It is obvious that this work was Erich Katz Contemporary Music Series Members Non-Members arranged for a professional consort. A Short Tale for Two Basses Suzanne M. Angevine (Level II) (2 scores) $5 $8 Much would be lost when attempted by Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score & parts) $10 $18 Dorian Mood Sally Price (SATB) (Level II) (score & parts) $10 $18 a consort playing under tempo and with- Double Quartet for Recorders Peter Ballinger (Level II-III) (score & parts) $10 $18 out the proper embellishments. Entrevista Frederic Palmer (SATB) (Level II) (2 scores & 4 recorder parts) $8 $14 Kyrie and Vocalise for Soprano Voice &Recorders Stanley W. Osborn $8 $14 Bill Rees is music director of the Bella (SATB) (Level II) (2 scores & 4 recorder parts) Vista Recorder Consort in northwest Picnic Music Jeffrey Quick (SATB) (Level II) (score & parts) $5 $8 Six Short Pieces for Three Recorders edited by Alan Drake $8 $14 Arkansas. Prior to retirement he taught (3 scores) Vaclav Nelhybel (AA/TT) (Level II) Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12 woodwinds and music education at East (Level II) (2 scores) Texas State University (now Texas A&M at Sonatine for Three Altos Lee Gannon (Level III) (score & parts) $14 $26 Suite of Jewish Folk Tunes Erich Katz (S S/A8 A/T) (Level II) (three scores) $10 $18 Commerce), performed on recorder and traverso with the Texas Baroque Ensemble, Musical Editions from the Members’ Library: taught public school instrumental music in ARS members: 1 copy-$3, 2 copies-$4.50, 3-$6, 4-$7.50, 5-$10, 6-$11.50 Non-members (editions over 2 years old): 1 copy-$5, 2 copies-$8.50, 3-$12, 4-$15, 5-$19.50, 6-$23 Western NY State and served as a U.S. Navy The ARS is happy to provide photocopied enlargements of any Members’ Library edition at the same prices. Please specify “Members’ Library Enlargement.” musician. He has been active in the recorder Arioso and Jazzy Rondo (AB) Carolyn Peskin New Rounds on Old Rhymes (4 var.) Erich Katz movement since the ’60s and served on the Bruckner’s Ave Maria (SSATTBB) Other Quips (ATBB) Stephan Chandler ARS Board. 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 Dancers (AT) Richard Eastman Sentimental Songs (SATB) David Goldstein, arr. GALGENBRUDERS LIED, AN Different Quips (AATB) Stephan Chandler Serie for Two Alto Recorders (AA) Frederic Palmer Elegy for Recorder Quartet (SATB) Carolyn Peskin Slow Dance with Doubles (2 x SATB) Colin Sterne SOPHIE, DIE HENKERSMAID, Elizabethan Delights (SAA/TB) Sonata da Chiesa (SATB) Ann McKinley BY AGNES DORWARTH. Moeck 804 Jennifer W. Lehmann, arr. S-O-S (SATB) Anthony St. Pierre Four Airs from “The Beggar’s Opera” (SATB) Three Bantam Ballads (TB) Ann McKinley (Magnamusic), 1999. T. Sc 7 pp. $7. Kearney Smith, arr. Three Cleveland Scenes (SAT) Carolyn Peskin Agnes Dorwarth (b. 1953) is a profes- Gloria in Excelsis (TTTB) Robert Cowper Three in Five (AAB) Karl A. Stetson Idyll (ATB) Stan McDaniel Tracings in the Snow in Central Park (SAT) sor of recorder at the Music Academy in Imitations (AA) Laurie G. Alberts Robert W. Butts Freiburg, Germany. She has composed In Memory of Andrew (ATB) David Goldstein Trios for Recorders (var.) George T. Bachmann Lay Your Shadow on the Sundials (TBgB) Triptych (AAT/B) Peter A. Ramsey many musical compositions, unsurpris- Terry Winter Owens Two Bach Trios (SAB) William Long, arr. ingly with a specific focus on recorder LeClercq’s Air (SATB) Richard E. Wood Two Brahms Lieder (SATB) Thomas E. Van Dahm, arr. Little Girl Skipping and Alouette et al (SATBCb) Variations on “Drmeš” (SATB) Martha Bishop music. Timothy R. Walsh Vintage Burgundy (S/AS/ATT) One of her largest works is a musical Los Pastores (S/AAA/T + perc) Virginia N. Ebinger, arr. Jennifer W. Lehmann, arr. ARS Information Booklets: setting of the entire set of famed Galgen- ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 lieder poems by the German poet Non-members: 1 booklet-$18, 2 booklets-$33, 3-$44, 4,$55, 5-$66, 6-$76, 7-$86 Christian Morgenstern. Morgenstern’s Adding Percussion to Medieval and Improve Your Consort Skills Susan Carduelis Renaissance Music Peggy Monroe Music for Mixed Ensembles Jennifer W. Lehmann characteristic work is filled with clever American Recorder Music Constance Primus Playing Music for the Dance Louise Austin wordplay that delights the listener in The Burgundian Court and Its Music Recorder Care Scott Paterson Judith Whaley, coord. both the meaning and sound of words, inspired by the syntax and sounds of Education Publications The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). “nonsense” verse. First copy free to ARS Members (mailed to new members as they join); replacement copies, $3. This solo piece for tenor recorder is a 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. stand-alone movement taken from this ARS Music Lists (2002 with 2003 Supplement). Graded list of solos, ensembles, and method books. large cycle. It is a flamboyant and memo- Members $9; non-members, $15. Package Deal available only to ARS members: Guidebook and Music Lists/Supplement ordered together, $16. rable presentation of the poem, involving Junior Recorder Society Leader’s Resource Notebook. both playing and rhythmic spoken decla- 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+). mation of the poem’s text. An entire page at the front of the score Videos Recorder Power! Educational video from the ARS and recorder virtuoso John Tyson. is devoted to explanation of the myriad An exciting resource about teaching recorder to young students. ARS members may borrow a copy for one month extended techniques used. This is a work by sending $5 to the ARS office along with the address to which the tape should be shipped. Pete Rose Video. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recital. for a virtuoso-level player with excellent Features Rose performing a variety of music. and an interview of him by ARS member professional John Tyson. stage presence, good “musical acting” Other Publications skills, and excellent German diction. Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering forming an 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. 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. KEY: rec=recorder; S’o=sopranino; S=soprano; 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. A=alto; T=tenor; B=bass; gB=great bass; Either single volume: ARS members $23; non-members, $28. cB= contra bass; Tr=treble; qrt=quartet; Both Discography volumes together: ARS members only, $40. pf=piano; fwd=foreword; opt=optional; 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. perc=percussion; pp=pages; sc=score; pt(s)=part(s); kbd=keyboard; bc=basso con- Shipping & Handling Fees tinuo; hc=harpsichord; P&H=postage and 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. handling. Multiple reviews by one reviewer are dollars. For Canadian or foreign postage, pay by credit card and actual postage is charged. followed by that reviewer’s name. Please submit Please make checks payable to ARS. VISA/MC/AMEX/Disc also accepted. music for review to: Constance M. Primus, Box ARS, 1129 Ruth Drive, St. Louis, MO 63122 U.S. 608, 1097 Main St., Georgetown, CO 80444. 800-491-9588 [email protected]
34 American Recorder INEVITABILINI, BY JESPER NORDIN. MINIATUREN (2000), BY HARALD His work is extremely under- Moeck 1610 (Magnamusic), 2002. S/A/T GENZMER. Schott OFB 200 represented on recordings at present, but solo. Sc 2 pp. $9.50. (Magnamusic), 2003. SAT. Sc 23 pp, this will hopefully remedy itself in the Jesper Nordin (b. 1971) is a versatile pts 7 pp ea. $12.95. years to come as new performers discov- Swedish composer who has written German composer Harald Genzmer er the treasures to be found in his output. much music that stems from diverse (b. 1909) was a student of Paul Trio (1955) is a work for either three influences—traditional Swedish folk Hindemith and taught for most of his recorders or recorder orchestra. The in- music, rock music, improvisations and career at the conservatories in Freiburg side of the score provides a helpful table classical music. and Munich. He has been a significant for distributing the three parts to the This short, two-page piece for solo contributor to German musical life dur- instruments in a recorder orchestra; recorder (soprano, alto or tenor) is adapt- ing the 20th century and has composed the lowest part is also supplied in a bass ed from a large work of his for ’cello, bass works in every genre except for opera. clef version. The score and parts are care- recorder and electronics. The solo piece Miniaturen is a set of eight very short fully marked as to solo and tutti changes. is based upon a traditional Swedish movements for recorder trio (most are no The piece is in three brief move- folk tune that, though transformed in more than a two pages of score). The ments—a spirited “Fughetta,” a slow various harmonic and rhythmic ways, musical language is in a contemporary and lyrical “Air,” and a rhythmic still imbues this piece with a distinct modal idiom, and the parts are not “Passacaglia.” The work uses an extend- folk flavor (characteristic of Swedish difficult to play. The movements range ed tonal language, and none of the parts “herding tunes”). in character—from a tarantella, to is particularly taxing either in technical The piece is notated without bar lines variations on a French trouvère song, to a content or range. and maintains a sense of flexible, impro- jocular fanfare. visatory rhythm for its entire duration. It Unfortunately, no phrasing, slurs or is not particularly difficult and would articulation are noted in the score or This reviewer has long make an appealing inclusion on any pro- parts (only dynamics), so players will considered the Dutch gram. Because of the “resonant” charac- need to work out articulations before ter of the harmonies and gestures, the embarking on a performance of the work. composer Henk Badings composer recommends performance in To this reviewer, they seem necessary to “a big acoustic; be it a large room, with an give the music its full impact. (1907-87) to be one of the electronic reverb, or by playing into a The piece would present a perfect most underrated musical piano with the sustain pedal down.” pedagogical opportunity for a trio—any of the individual movements would figures of the 20th FANTASY AND FUGUE (1991), BY make an excellent teaching piece for century. ... I have never RICHARD BUSCH. Peacock Press PJT 038 three students, offering a chance to dis- (Magnamusic), 2004. AAT. Sc 14 pp, pts cuss why certain articulations/phrasings encountered a Badings 4 pp ea. $19.50. are the most appropriate ones. American composer Richard Busch The structure of eight unrelated composition that is less (b. 1947) is best known for his distin- movements could prove a less satisfying guished career as an organist and choir entirety within a recital context, but with than effective, compelling director. A composition student of the right programming complements, and memorable in the Vincent Persichetti, Dutch composer the music’s appealing charm would be Diderik Wagenaar, Roger Sessions and effective. terms it sets for itself. Luciano Berio at the Juilliard School in New York, Busch has written many works TRIO (1955), BY HENK BADINGS. The third movement, with its meter of for orchestral and chamber groups, as Moeck 812 (Magnamusic), 2006. 11/4 (though grouped with dotted bar- well as for choral ensembles. SSA (or rec orch). Sc 7 pp, pts 3 pp ea. $7. lines as 3+2+3+3) will need some Fantasy and Fugue for recorder trio is This reviewer has long considered the additional rehearsal. The result is very subtitled “A Major–Minor Amusement,” Dutch composer Henk Badings infectious, and the finale has a truly which reflects its light-hearted spirit. The (1907–87) to be one of the most under- ebullient spirit. piece is cast in a single movement— rated musical figures of the 20th century. This work is strongly recommended an opening fantasy marked “Allegro Born in Indonesia, he spent most of his and seems to this reviewer that it would giocoso,” a brief “quasi una cadenza” career in the Netherlands, composing a be equally effective in either trio or section, and a fugue marked “non troppo body of music that ranges from works for orchestra version. It is a superb re-issue allegro.” student performers to experimental elec- from the Badings catalog, much of which The fantasy section contrasts lyrical tronic and microtonal pieces. still remains unpublished (or out-of- gestures with bouncing rhythms. The Through Badings’s entire output print) and thus hard to obtain. fugue is in changing meters of 5/8, 7/8 (whether at his most conservative Carson Cooman is an active composer and 4/8. Episodes of quieter, gentler or avant-garde) runs a common theme: with a catalogue of more than 600 musical lyricism are interspersed with the faster exceptional musicality. I have never works in many forms, ranging from solo fugue textures. encountered a Badings composition that instrumental pieces to operas, and from The work is at the upper end of is less than effective, compelling and orchestral works to hymn tunes. His work moderate difficulty and would make an memorable in the terms it sets for itself. is available on over 10 record labels, impressive finish to a recorder trio including Naxos and ABC Classics. recital. March 2008 35 TIERS LIVRE DE DANSERIES (1559), reading. The fact that this large edition TWO SONATAS A4, BY LAMBERT BY JEAN D’ESTRÉES, ED. BERNARD THOMAS. provides no parts necessitates the PIETKIN, ED. VIRGINIA BROOKES. London Pro Musica LPM DM9, Early purchase of multiple copies. PRB Productions PRB BO49 Dance Music 9 (Magnamusic). 4 to 6 (
36 American Recorder No. 1, there are considerable CANTIGA’S RENAISSANCE THE YORK WAITS (EARLY MUSIC additions of ficta. With the changes not FESTIVAL FAVORITES, BY ROBERT MISCELLANY: SETTINGS AND indicated above the staves, it is necessary BIELFELD. Mel Bay, 2006. For all insts, ARRANGEMENTS OF MEDIÆVAL to refer back to the front cover, which is with guitar chords. Sc 151 pp, CD. $25. AND RENAISSANCE SONG AND less convenient. Renaissance festivals are becoming DANCE MUSIC FOR INSTRU- The cut-time meter of the source has more common across America, and I MENTAL PERFORMANCE), JAMES been changed to 4/4 in the edition. Each actually received this book to review MERRYWEATHER, SERIES EDITOR. of the sonatas includes a meter shift for just before I agreed to perform at a 3 SONGS BY ONE OF THE LONDON which the original mensuration signs are Renaissance Festival near my hometown. WAITS, JEREMY SAVILE (1667 AND not given. The editor indicates that the When I opened the book, I was 1673). Peacock Press PTYW 23 proportional relationships between delighted to see that the second piece (Magnamusic), 2005. 3 & 4 voices. the meter changes are not specified was a traditional Welsh song I had 4 Sc 2 pp ea. $13.50. in the source, and she does not include learned to sing in school in Wales as a SARABAND BY ONE OF THE modern note value equivalencies— child. Therefore I was instantly LONDON WAITS, SIMON IVES perhaps for this reason. endeared to this book—and to its (1600–1662). Peacock Press PTYW 17 The substitution of common time for arranger, who had done enough research (Magnamusic), 2005. SSATB (or other the cut time of the original enables the to include a wonderful and little-known insts). 5 Sc 2pp ea, plus parts transposed quarter note to carry the pulse, which tune beloved in my country. for B clarinet, viola, French horn. works out well in the first section of This volume contains 143 charming $16.50. Sonata No. 1. It necessitates a 12/8 time and easy-to-play tunes that had me 4 PLAYFORD DANCES: MILLFIELD, signature in the middle section, which Googling their origins and histories, SHAKING OF THE SHEETS, TYTHE is a little unwieldy. However, as this as I craved more information than the PIG, CHESTNUT (X2), PUB. JOHN segment is primarily homophonic, with paragraph above each tune provided— PLAYFORD (1651–1695), ARR. TIM the bass keeping a regular dotted-quarter not that the information accompanying BAYLEY. Peacock Press PTYW 12-16 pulse for the most part, it reads well. each tune is insufficient. The Celtic (Magnamusic), 2005. 3, 4, 5 recs. In Sonata No. 2, the time signature tunes, particularly, appear to be Sc 9 pp. $13.50. choice is a bit more problematic. The currently popular among musicians PAST THREE O’CLOCK: LONDON, middle section moves from 4/4 to 3/2, because of the many beautiful versions YORK AND OXFORD WAITS PLUS which is more difficult to convert— of these tunes—usually played on THE WAITS’ CAROL. Peacock Press especially for less experienced players. the harp, on such sites as PTYW 18–21 (Magnamusic), 2005. Cut time might have been a better choice
March 2008 37 began to include singers and players of A small collection of Playford whereas the treble part could be altered softer instruments like recorders, viols dances—ones not usually included in to fit the range of the alto recorder or and cornetti. other editions—is in Tim Bayley’s played just as effectively on the tenor In the 17th and 18th centuries, the arrangements for three, four and five recorder. waits of many towns had their own sig- instruments entitled 4 Playford Dances. nature tunes. Toward the end of the 18th The first piece, “Millfield,” is in four The final volume century, however, most town groups had parts (SSAB would be one way to play it) disbanded for financial reasons. The mu- and also includes chords so that a reviewed here is sicians then became members of church stringed or keyboard instrument can be Dr. Merryweather’s bands, and the waits became only a added. It is a chirpy, very manageable memory of the earlier times. piece, and nicely arranged. Song-Booke, which A member of the London Waits, “Shaking of the Sheets” is another Jeremy Savile was the composer of four-part piece in 6/8 with chords added. includes a special 3 Songs in a volume of that name in It could be played on SSAB or S A8 A/T B CD-ROM that offers Merryweather’s York Waits series. —flexible enough to challenge various In three or four parts, the songs are enti- intermediate players and yet give a the possibility of hearing tled: “Here’s a Health,” 1667 (S A8 B); pleasing result. Our group found it use- each part separately “The Waits,” 1673 (SATB); and “Had She ful as an exercise in articulation resulting Not Care,” 1667 (A8 A8 A). Both the first in different affects and in developing the and then together. and second songs are from John Play- skill of alto reading up an octave. ford’s Musical Companion. In order to show the importance of The final volume reviewed here is By including the words to these including lyrics for vocal pieces, one has Dr. Merryweather’s Song-Booke, which songs, Merryweather has made our deci- only to play this without any knowledge includes a special CD-ROM that offers sions about articulation and phrasing so of the words—the result is a very cheer- the possibility of hearing each part much more reliable. In “The Waits,” ful mood. However, the words of this separately and then together. The table of since the words throughout are “fa la piece and explanation of key phrases contents lists the pieces in order: the la la,” one would expect no phrasing indicate that it is about death and composer, date, type of song (solo, part issues. However, it is again very helpful to dying—a different feeling altogether song, catch, round, instrumental, have them included, as there are a few than what one would expect! chorus song, etc.), and number of singers surprises with placements of a “fa” here “Tythe Pig” (S A8 B) is another skill- or players. Very helpful comments and there. The fact that the rhythm is the fully arranged piece. In most of the song, and information precede the songs same throughout the parts in “The the parts move rhythmically together, themselves. Waits” means that an intermediate group giving a nice effect of clean movement. The pieces that derive from vocal can play with more reassurance and The collection ends with two versions works include the words—all verses! usually have a successful performance. of Playford’s “Chestnut” for four and five That is such fun in the delightful song The final piece in this volume, “Had players. The four-part version requires “The Vicar of Bray,” which tells about a She Not Care,” becomes an exercise in changing octaves in some places; the Church of England clergyman who reading up an octave, which is a good five-part version does not, working serves during the reign of many kings and skill for recorder players to acquire. Also, smoothly and well on SAATB. queens, changing his beliefs and devo- since this is a catch or round, the entire All in all, this is a good addition to tions for convenience through the years. piece can be practiced in unison to work the pieces available for intermediates— This volume is a great source for an out any difficulties before it is played by fun to play and sounding good for the ongoing ensemble that needs material the group in parts. players and the audience alike. both light and entertaining, yet serious. All three pieces are on a fold-out Merryweather, the York Waits series It will serve well for practice material as two-page score, one for each player and editor, has included good historical back- well as for performing. an extra one for the coach. The print is ground of the melodies in the volume The entire York Waits series is done clear and sizable enough for some aging Past Three O’clock. One interesting fact with careful attention to original sources, eyes. Thank you! mentioned by him is that the term presented with a good amount of histor- Saraband, by Simon Ives (1600–62), “country” dance comes from the French ical and performance information, and is arranged for SSATB by Peter Holman. word contre, meaning “opposite.” He the pieces chosen with care. I commend One side of each of the two-page parts also shows photocopies of the original the editor and recommend the series! shows the score; on the other side are music and texts of signature songs from Marie-Louise A. Smith has taught separate parts transposed for viola, B the Oxford, York and London waits. recorder for over 30 years. She retired in clarinet and French horn. This gives this Included is a lovely arrangement by 2003 from the Indiana University Jacobs edition the flexibility to be used by a Bayley of the Waits’ or Bellman’s Carol, School of Music’s Early Music Institute, modern ensemble as well as the tradi- “The Moon Shines Bright.” Of the two where she directed the IU Young Recorder tional recorder group. possible settings of the Oxford Waits’ Players. She created and directed the This piece is for players who are good song (a cebell or English gavotte), our Summer IU Recorder Academy for gifted rhythmic readers. It may be a challenge group preferred the one arranged for teenage recorder players from all over the for some groups but worth the work to treble and bass instrument. We liked the world. In 2005, she received the Presidential get it together. sound of the bass part fairly unchanged, Special Honor Award from the ARS.
38 American Recorder 150 CLASSICAL STUDIES FOR ALTO RECORDER FROM THE FAMOUS FRANS VESTER COLLEC- TION, ED. IRMHILD BEUTLER & SYLVIA C. ROSIN. Universal Edition UE 33 029 (Theodore Presser), 2006. A. Sc 87 pp. $14.95. FANTASIEN UND CAPRICEN (6 SONATEN), BY JOHANN JOACHIM QUANTZ, ED. GUDRUN HEYENS. Edition Schott OFB 204 (
We recorder players lack the depth of study repertoire enjoyed by other instruments.
In an attempt to redress the balance somewhat, Irmhild Beutler and Sylvia C. Rosin, of the Ensemble Dreiklang Berlin, have adapted for the alto recorder a Provincetown Bookshop Editions well-known series of flute studies collected by Frans Vester. In their preface, “GO FOR NEO-BAROQUE!” the two editors discuss their aim to present “musically exciting” material that Andrew Charlton: Partita Piccola. For 4 Recorders (SATB) will “extend the boundaries of the [Prelude; Allemande; Courante; Musette— traditional recorder repertoire”—and in a neo-baroque epitome!] (Score & Parts, PBE-25) ...... $7.95 this they have succeeded. The studies come from 16 composers, Andrew Charlton: Suite Moderne. For 3 Recorders (ATB) all renowned flutists, such as Jean-Louis [Baroque shapes but Hindemithian harmony] Toulou and François Devienne. The (3 Playing-Scores, PBE-44) ...... $9.95 earliest studies are by Frederick the Great from the mid-18th century, and the latest Southwest of Baroque. David Goldstein’s “baroque Suite” by Ernesto Köhler from the end of the 19th century. They range in difficulty from on Cowboy Songs. For 2 Recorders (SA) (PBE-2) ...... $3.50 simple pieces by Giuseppe Gariboldi or A good source for Recorder & Viol Music of all publishers. Wilhelm Popp, in half and quarter notes The Provincetown Bookshop, Inc. and covering little more than an octave, 246 Commercial Street, Provincetown, MA 02657 Tel. (508)487-0964 all the way to virtuosic display pieces
March 2008 39 by Benoit Tranquille Berbiguier covering MOTETTI NOVI E CHANZONI the best composers of the era: Jean the full range of the instrument in leaping FRANCIOSE A QUATTRO SOPRA DOI Mouton, Adrian Willaert, Antoine 32nd notes. (1520), BY ANDREA ANTICO, ED. BERNARD Brumel, Pierre de la Rue, and Josquin des Beutler and Rosin have adapted the THOMAS. London Pro Musica LPM RM 9 Près. All these pieces include text and may music sensitively. Though the melodic fig- (Magnamusic), 2006. Various insts, be either sung or played. ures are often unusual for the recorder, 4 to 8 pts. Sc 61 pp. $13. The content of the canons falls into two and there are some especially high notes The canon has long been an essential categories: Marian motets (motets in (for which fingerings are given), the music element of counterpoint. The term praise of the Virgin Mary) or secular songs. generally lies well for the alto. Some pieces “canon” refers to the process of extracting As the editor, Bernard Thomas, points out have up to five flats, but most of them have multiple parts from a given melody line. in his informative introduction, the no more than three sharps or flats. In fact, The canon is related to the English round secular songs are essentially chansons the editors recommend the book as an and catch, and also to the later fugue. rustiques—that is, popular songs that had opportunity to practice sight transposi- The most familiar example is the migrated into art music over the years. tion and have suggested destination keys famous Sumer is icumen in. In Renaissance The volume’s title indicates a collec- for most of the studies. usage, a line would be supplied and tion of double canons, but this is not the The great challenge, in the end, is to directions were written telling the case. Thomas takes great pains to explain adapt the supple phrasing of these pieces performer or performers when to enter the differences among the various canons. to the recorder—and this is where and at what interval. One is a quadruple canon, another has advanced players will want to take on the Although not its original meaning, four canonic pairs, another has four parts challenge of finding the means to realize canon came to be known as the process derived from one real part, and so forth. the music’s dynamic and color contrasts of strict imitation using two or more It is not necessary to have extensive as fully as possible. voices, and also describes the polyphonic knowledge of music theory and forms in One of the first composers to use texture that arises from such a process. By order to enjoy this music. Far from being studies consciously and consistently was the time of Gioseffo Zarlino’s treatise of academic works, these are pieces of great, J.J. Quantz, especially in his role as the 1558, the writer was encouraging com- and occasionally transcendent, beauty. flute teacher of Frederick the Great. posers to more fully explore free Gudrun Heyens has made a selection of imitation as he considered strict imitation Quantz’s challenging study pieces, to be old-fashioned. Far from being academic Fantasien und Capricen, and organized However, Bach’s art of counterpoint works, these are pieces of them into six three- or four-movement was firmly rooted in the canon. The Orgel- great, and occasionally sonatas. While the resulting works do not büchlein, Goldberg Variations, The Musical have the overall coherence of Telemann’s Offering and The Art of Fugue all show transcendent, beauty. fantasias or Boismortier’s solo suites, Bach’s mastery of canon. In the famous to which Heyens refers in her Preface, it portrait of Bach in 1746, the artist Elias Thomas includes some background is intriguing and often enlightening to Haussmann carefully shows the composer information on some of the pieces, but not encounter these familiar pieces by Quantz holding a manuscript of a canon. It was all. The story behind the setting of “Adieu in this new context. Those performers important to Bach to be shown in this mes amours” by Mouton, for example, considering the pieces for public perform- way since he considered canon to be the adds a great deal to the enjoyment ance will especially appreciate the care foundation of his art. of the piece. The original chanson is by with which Heyens has grouped the Andrea Antico’s 1520 publication, Josquin, who was Mouton’s teacher. movements. Motetti novi e chanzoni franciose a quattro Interestingly, there are two settings of In both of these editions, the music is sopra doi, is a book of canons. The title “Petite camusette” by Willaert that are presented in a manner that is attractive of this particular edition is a bit mislead- very different and even use different and easy to read, and with no obvious ing; Antico (c.1480-c.1538) is not the melodies. typographical errors. composer, but the compiler, editor and As is the case with several recent Lon- While one could quibble with the title publisher of this book. He was the Roman don Pro Musica editions, there are a few of the Universal collection (most of those equivalent of Ottaviano Petrucci, the errors—mostly proofreading errors in the studies have their origin outside of the Venetian music printer. Among his many introduction and the occasional missing Classical period proper), the only real accomplishments is the printing of the musica ficta in the notes. There are no complaint is that original source informa- first book of Italian keyboard music. parts, an unfortunate fact that will require tion is not given for the music. Those who It is not unusual for the composers an ensemble to purchase three to seven use etudes regularly will want to investi- in an anthology such as this to receive additional copies of this very interesting gate the Universal collection especially, second billing to the publisher. For in- and enjoyable volume, or to resort to but both editions will offer rewarding stance, many of the 21 dances in Giorgio making illegal photocopies. challenges to the studious. Mainerio’s Il primo libro di balli (1578) This volume supplies a necessary Scott Paterson teaches recorder and were lifted note-for-note by the Louvain niche in early music for the ensemble that Baroque flute at The Royal Conservatory publisher Pierre Phalèse for his 1582 pub- has tired of dance music and wants some- of Music of Toronto and is a freelance lication, Chorearum molliorum collectanea, thing “meatier” without delving into more performer in the Toronto area. The former with no attribution. overtly religious music. ARS Board member has written on music The canons in this volume, a complete Frank Cone is a multi-instrumentalist for various publications for over 25 years. edition of Antico’s book, are by some of who lives, works and plays in California.
40 American Recorder ( +81+2+? , +9:/<'2 + >./(/:/54
June 2-8, 2008
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)USKHKGVGXZULUTKULZNK]UXRJ YSUYZK^IOZOTMIKRKHXGZOUTYULKGXR_S[YOI+^VKXOKTIK ZNIKTZ[X_ ,RUXKTZOTKGXZGZOZYSUYZYVKIZGI[RGX]OZNZNK'SKXOIGTVXKSOKXKULZNKUTR_QTU]T VGXZIU[TZKXVUOTZ UXGZUXOUOT=KYZKXTS[YOI2K6UKSK.GXSUTOW[KZNKNOZULZNK (KXQKRK_,KYZO\GRXKZ[XTY]OZNG IKRKHXGZOUTULZNK-URJKT'MKUL ,+9:/<'2./-.2/-.:9/4)2;*+ :NK'SKXOIGTVXKSOKXKUL'RKYYGTJXU9ZXOMMOUº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he recorder moves in with the orchestra MOVEMENTS, MICHALA PETRI, painter Lars Physant, and musicians Lars RECORDERS, DANISH NATIONAL ORCHES- This disc presents three Hannibal and Petri. As Hannibal’s CD TRA, LAN SHUI, COND. Our Recordings notes express, the music carries a sonic 6.220531, 2007. 1 hybrid SACD, $13–17, imagery of landscapes of both Spain and 57:28, 42 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 HESPERUS! ____SPAIN IN THE NEW WORLD Hesperus. ____THE BANSHEE S WAIL Scott Reiss, Renaissance, Baroque & Native American music of recorders & whistles; Glen Velez, Tina Chancey, Spain, Mexico, Central & South America, in ____TASTE Zan McLeod, Bruce Molsky on other early instru- Spanish, Quechua & Canichana dialect. Golden OF PORTIQUE ments. Irish and Medieval music, works by Irish, Apple, 1990. L'Ensemble Portique. Spanish, Italian composers from the 13th & 14th ____UNICORN Hesperus: Scott Reiss, recorders, Early and contemporary chamber music— centuries and by de Machaut. Golden West, 2002. dumbek, nakara, hammered dulcimer, flageolet, Bach, Telemann Boismortier and others. ____CELTIC ROOTS Hesperus. 17-18th-century Cajun triangle; Tina Chancey, viols, fiddle, vielle, ____TELEMANN ALLA POLACCA Scottish, Irish, English, American traditional & parlor kamenj, lyra, recorder, rebec, vocals; Bruce Hutton, REBEL– Matthias Maute, recorders & traverso– music from the earliest written sources. Maggie's banjo, guitars, ukulele, mouth bow, lap dulcimer, plays concerti and suites by G.P. Telemann. Dorian. Music, 1999. mandolin, vocals; Bruce Molsky, fiddle, guitar, banjo, ____TELEMANN CHAMBER CANTATAS ____COLONIAL AMERICA Hesperus: Scott Reiss, vocals. Fusion of Old-time Appala-chian, blues, Musica Pacifica Five cantatas from Harmonischer recorders & pennywhistle; Tina Chancey, bass viola Cajun and world music with Medieval and Gottesdienst, two sonatas from Sonatas Corel- dam gamba, fille & recorder; Grant Herreid, lute, Renaissance sounds. Dorian Discovery, 1996. lisantes. 2003 Chamber Music America/ WQXR theorbo, early guitars & recorder. Spirited sounds ____THE VERSATILE VIOL: SCOTTISH AND Record Award for best chamber music recordings. from across the sea to the shores of the new land. IRISH MUSIC Hesperus: Scott Reiss, recorder, ____TELEMANN: DUOS POUR FLUTES Lively country dance tunes, old time Appalachian whistle, dumbek; Tina Chancey, bass gamba, fiddle; Ensemble Caprice. Matthias Maute & Sophie fiddle tunes, evocative Shape Note hymns, graceful Robert Spates, fiddle; Joseph Gascho, harpsichord; Larivière, recorders & transverse flute, Alexander European parlor music, French cotillions. Maggie’s Zan McLeod, guitar, bouzouki; Sue Richards, harp. Weimann, clavichord. Six Telemann duos & sonatas Music, 2003. Jigs, reels, airs, variation sets, O’Carolan tunes, alternate with five fantasies for clavichord by Maute. ____AN EARLY AMERICAN QUILT Hesperus: sonatas, on bass gamba & harp, harpsichord or gui- ____TELEMANN: MIT FREUDE CANTATES Tina Chancey, Scott Reiss, Grant Herreid, Mark tar, and with a band of fiddle, recorder/whistle & ET MUSIQUE INSTRUMENTALE DE GEORG Cudek, Robert Eisenstein, Peter Marshall with bazouki. Golden Apple, 2007. PHILIPP TELEMANN Ensemble Caprice: Matthias guests Melissa Weaver Dunning, the Hesperus Maute & Marion Verbruggen, recorders; Monika Shape-Note Chorus, Bonnie Rideout, Maggie IN STOCK (Partial listing) Mauch, soprano. Cantatas and instrumental music Sansone, William Taylor & Phillippe Varlet on ____ALLA TURCA: FUX CALDARA BADIA of Telemann. ATMA . recorders, whistles, viola da gamba, other early & Matthias Maute & Sophie Larivière, recorders; ____TRIO ATLANTICA Lisette Kielson, recorders. traditional instruments. In town hall and village, par- Monika Mauch, soprano. Vocal music of the church Works by Bach, Telemann, Montéclair, Leclair. lor and ballroom, from the Appalachian mountains to accompanied by Ensemble Caprice, plus sonatas ____VIVALDI AND THE BAROQUE GYPSIES the great concert halls, 20 songs celebrate the and other instrumental pieces. Analekta. Matthias Maute & Sophie Larivière, recorders; diversity of early American music in a musical patch- ____DOLCE MUSICA: A CONTEMPLATIVE Ensemble Caprice. Gypsy music taken from work that reflects a time of new ideas and vitality. JOURNEY Eileen Hadidian, flutes & recorders; Uhrovska zbierka, the country now known as .Maggie’s Music, 1993. Natalie Cox, harps. Celtic, Renaissance & Medieval Slovakia, plus works by Vivaldi. ____EARLY AMERICAN ROOTS Scott Reiss, melodies for recorder & flute with Celtic harp. ____VIVALDI: LA NOTTE Concerti per strumenti recorders, hammered dulcimer & flageolet; Tina Healing Muses. diversi. Judith Linsenberg, recorder; Musica Chancey, viol & Baroque violin; Mark Cudek, cittern ____GATHERING: HUI; folk melodies from China Pacifica. Award-winning CD, featuring five Vivaldi & Baroque guitar. Lively instrumental music from and 17th-century Europe, with crossover collabora- concerti, two sonatas. America’s past—country dance tunes, cotillions, tions among Cléa Galhano, recorder, Belladonna ____VIVALDI: SHADES OF RED; Concertos & marches, divisions, common tunes, etc. Alto Baroque Quartet, and guest Gao Hong, Chinese Sonatas for Recorder & Strings Matthias Maute, recorder solo on Daniel Purcell’s Ground, recorder pipa. Ten Thousand Lakes. recorders; REBEL. Stylish, high octane readings of trios on shape-note hymns. Maggie’s Music. ____LES SEPT SAUTS: BAROQUE CHAMBER some of Vivaldi's most beloved pieces, including the ____THE FOOD OF LOVE Hesperus. Early instru- MUSIC AT THE STUTTGART COURT. Matthias popular and raucous Concerto alla Rustica, stun- mental music of the British Isles, with works by Byrd, Maute & Sophie Larivière, recorders & traverso; ningly colorful Sonata on La Follia, and four exuber- Gibbons & Simpson through Dowland, Playford & Ensemble Caprice. Charming repertoire by ant recorder concerti. Bridge. Coprario. Schwartzkopff, Bodino, Detri. Atma Classique. ____I LOVE LUCETTE Hesperus: Scott Reiss, Tina ____PARTY OF FIVE: A FEAST OF VIVALDI AND Please indicate above the CDs you wish to Chancey, Jane Hershey, recorders & other early TELEMANN Blue Baroque Band: Cléa Galhano, order, and print clearly the following: instruments; Rosa Lamoreaux, soprano; Howard recorder; Daria Adams, violin; Kathryn Greenbank, Name ______Bass, lute. Charming, bawdy,sentimental music oboe; Layton James, harpsichord; Charles Ullery, Daytime phone: (_____)______from French Renaissance theatrical tradition. bassoon. Old sounds of recorder & harpsichord jux- Address:______Divisions on Contente Desir, Il Fault Bien Aimer; taposed with modern oboe, bassoon & violin. Tele- City/State/Zip: ______good recorder trio work. Koch Int'l. mann: Concerto in am, TWV43:a3; Trio Sonata in Check enclosed for ____MY THING IS MY OWN: BAWDY MUSIC OF am, TWV 42:a4. Vivaldi: Concerto in DM, RV94; _____ single CDs x $____ = $______THOMAS D URFEY Tina Chancey, Grant Herreid & Concerto in gm, RV107; Concerto in gm, RV103. _____ 2-CD sets x $____ = $______Scott Reiss, recorders & other early instruments; ____SENFL (LUDWIG) Farallon Recorder Quartet TOTAL $______Rosa Lamoreaux, soprano. Improvisations on tunes (Letitia Berlin, Frances Blaker, Louise Carslake, Please charge the above amount to my of love, sex & seduction in 18th-century England. Hanneke van Proosdij). 23 lieder, motets and instru- MasterCard, Visa or AmEx: ____PATCHWORK Hesperus: Scott Reiss, whistle, mental works of the German Renaissance. #______recorders, hammered dulcimer, dumbek, finger ____STOLEN JEWELS Ensemble Vermillian: Exp. Date: ______cymbals; Tina Chancey, bass gamba, fiddle, vielle, Frances Blaker, recorders; Barbara Blaker Krum- Cardholder’s signature: ______rebec, kamenj, recorder; Bruce Hutton, vocals, lap dieck, Elisabeth Reed, Katherine Heater. 17th-cen- Mail to: dulcimer, banjo, guitar, mandolin, ukelele, kazoo, tury German music adapted by Blaker: "I love violin ARS, 1129 Ruth Dr., St. Louis, MO 63122-1019 U.S. mouth bow. Re-issue of popular HESPERUS music... so I steal the music and rearrange it for my You may fax a credit card order to 314-966-4649. crossover CD For No Good Reason At All, a fusion own instrument. This attitude and creative process NEW! You may now order CDs online using PayPal of Medieval, Renaissance, Appalachian, ragtime, is very much at home in the ... Baroque.” Buxtehude at 44 American Recorder