An Interview with Erik Bosgraaf One of the World’S Most Talented Erecorder Players, a Sort of Rock Star Among Recorder Virtuosos

Summer 2021, Vol. LXII, No. 2 • Published by the American Recorder Society • https://AmericanRecorder.org

• Published by the American Recorder Society • Vol. LXII, No. 2

ON THE COVER N ews & Notes LEARN Grimou, Alexis (c.1680-1740). 3 On the Record(er) • Sören Sieg 28 More on Breathing plus Posture Page with a Reed Pipe, late 17th Music Video Competition 2021; and Hands • A technique tip covering or 18th century. Oil on canvas. Nine Stern appointed Director of body and hand position basics Pushkin Museum of Fine Arts, Community Engagement for Boston by Lobke Sprenkeling Moscow, Russia. Photo: Early Music Festival; Early Music HIP/Art Resource, NY. Cover: America Trailblazer in Historical CRITIQUE ©2021, American Recorder Society. Performance Video Series; 36 Music • Baroque and Baroque- Cléa Galhano leaves St. Paul like music, spirituals and several Conservatory; COVID-19: open works by Raphael Benjamin Meyer those windows for better ventilation Præludium and Ciacona by Klaus and protection against spread of Miehling; Trios for Two by Adrian COVID-19; Arts for the Health of It Wehlte; Singet dem Herrn ein neues Lied, by J.S. Bach, arranged by Bart Spanhove; 4 machen Musik Ufa- FEATURES Filmslager, arranged by Ortrud 6 Not Just the Alto: Sizes Hommes; VI Sonaten by Andreas of Recorder, 1660-1800 • Heinrich Schulze (?); 10 Spirituals, by David Lasocki arranged by Hermann-Josef Wilbert; three works by Raphael Benjamin 18 An Interview with Erik Meyer: Safari for six wild recorders, Bosgraaf • Gail Nickless talks with Abire for Recorder Quartet, The Dutch professional recorder player Swing Thing for 5-7 recorders CONTENTS Erik Bosgraaf, then he offers 2 Editor’s Note & a few of his thoughts on practicing 43 Recording • Compelling COVID-19 President’s Message repertory and uplifting Baroque music from France and Germany LISTEN & PLAY by Tom Bickley: Le Plaintif with 25 Events • More about summer Erik Bosgraaf; Telemann. Mields events Boston Early Music Festival, Temmingh; Duo1702+ Coffee Edition plus a few more summer workshops

ARS 46 Chapters & Recorder Orchestras 47 Classifieds 48 Advertising Index

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Editor's Note · Gail nickless “We might be able to play together next month.” During a Denver (CO) chapter Zoom, our quartet compared notes on who had been vaccinated; only one of us still lacked the second COVID shot, plus the waiting period for full protection. Board of Directors As our lives get forward to normal (one that will never get back to being quite David Podeschi President the same, perhaps), it can be almost disorienting—but I think we’re all prepared Ruth Seib to face that eventuality in order to resume playing music in person! Vice-President & Asst. Treasurer In this issue we read about “luminous and shimmering” recordings of Carol Mishler Baroque music in Tom Bickley’s Critique, and about David Lasocki’s exhaus- Secretary & Fundraising Chair tive survey of the instruments that could have been used to play that Baroque Judith Smutek music. For those who hunger for live performance, there is information about Asst. Secretary & events during the virtual Boston Early Music Festival in June (including a Communications Chair Wendy Powers Baroque recital program by Erik Bosgraaf, who is interviewed in this issue). Treasurer As most of us have played music for smaller forces during the pandemic, Alice Derbyshire some of us have also decided to develop better technique habits. Lobke Membership Benefits Chair Sprenkeling gives us more advice on improving some of those basics, covering Peter Faber posture and hand position in this issue. Let’s make the best of where we are now Governance Chair and get ready to meet again in person, putting our best habits forward. • David Melanson Educational Outreach, President's Message · David Podeschi Grants & Scholarships Chair Eric Haas, Mollie Habermeier, The past year has taught many of us to get comfortable with— Greta Haug–Hryciw, Phil Hollar, call it what you want—virtual, Zoom, e-, online, etc. We’ve held Natalie Lebert, Barbara Prescott everything from happy hours with friends and family to work Board Members meetings, Board meetings, the ARS annual meeting, duets with Erich Katz (1900-1973) friends, chapter meetings, recorder lessons, sessions with a Honorary President professional recorder player on a theme, workshops: all virtually. This does not Winifred Jaeger replace playing together, but it has kept us together. Honorary Vice President We’ve made interesting and valuable gains. Chapters picked up new members; Staff professionals added new students; workshops attracted new participants when Susan Burns location didn’t matter, just time zone—even that didn’t matter for some; I’ve Administrative Director heard of players from Asia joining sessions in what was the middle of their night! Julia Ward How do we keep some of these gains, once we are able to again play in per- Administrative Assistant son? At our Board meeting in April, we discussed continuing the online begin- ner lessons that have been so popular and have brought in new ARS members. We will continue to increase our ARS website library of play-along recordings as a good, fun way to practice. As someone who has enjoyed home multi-track recording for years, it was gratifying for me to see so many recorder players Gail Nickless take up this great way of practicing—it forces you to listen to yourself! Editor I know that many of our professionals offered online recorder lessons before Contributing Editors the pandemic, but I wonder if they will also continue to offer expanded or Tom Bickley themed online sessions. I understand that some workshops may continue on- Critique: Recordings line workshops post pandemic—in addition to or separately from the real thing. Mary Halverson Waldo Learn What about chapters that have gone virtual? An ARS Board task force will Amanda Pond, explore whether and how a new virtual chapter not based on geography might Cynthia W. Shelmerdine work. My chapter in Dallas, TX, is thinking about resuming in person in the Line Editors fall, if all goes well with vaccines—but I will be recovering from thumb surgery Mark Davenport, and not playing by then. I am thinking of setting up a camera and microphone, Valerie Horst, and Zooming our playing sessions so our new remote members can still join in. David Lasocki, A year ago I certainly didn’t think I would be wondering how to maintain these Thomas Prescott kinds of positives from a pandemic! I hope you, too, have found a silver lining— Advisory Board and maybe even been able to utilize some of the resources ARS has created. •

2 AMERICAN RECORDER SUMMER 2021 HTTPS://AMERICANRECORDER.ORG NEWS & NOTES on the record(er) News about the recorder competition For the virtual BEMF 2021, Stern in her native New York City, NY. • Play music by Sören Sieg will host an interactive Family Day event on June 12 at 9 a.m., with Boston Early Music Festival, The Sören Sieg Music Video Competi- Recorders Beyond Borders: Boston https://bemf.org/2021-festival/ tion continues, with awards to per- Meets Kenya. The event will feature schedule-of-events formers of any age who create music live performance by a group of young S’Cool Sounds, videos of one of the composer’s solo recorder students in Kenya and a www.scoolsounds.org or duo pieces. Top awards are cash virtual performance by American Article introducing online prizes, plus the winning entry receives children performing a Cantiga de S’Cool Sounds lesson plans, a new work by Sieg; winners in places Santa Maria and a popular Kenyan https://americanrecorder.org/docs/ 4-12 receive two sheet music editions song, in honor of their recorder-play- AR_Sum2020_body.pdf and a CD. The 2021 jury is recorder ing friends from across the world. American Recorder articles about player Ebba-Maria Künning-Zeijl, A similar event featuring the teaching trips to Kenya, Jordan, etc., filmmaker Claire Walka and Sieg.• debut of a BEMF Youth Ensemble is https://americanrecorder.org/docs/ planned for BEMF 2023, with Stern ARwinter16body.pdf and Deadline: October 1, 2021, assembling a group of late elemen- https://americanrecorder.org/docs/ www.soerensieg.de/en tary/middle school players of early ARnov10body.pdf strings, winds and percussion, for a performance in person. helping young players Stern founded S’Cool Sounds in early music america Boston Early Music Festival 2002 as an educational outreach Trailblazers in Historical names Nina Stern as Director nonprofit that has worked to establish Performance Video Series of Community Engagement recorder programs in several schools in the Kibera slum of Nairobi, Kenya; Early Music America (EMA) has The Boston Early Music Festival at Village Health Works in Kigutu, launched a new video resource in (BEMF) has recruited professional Burundi; and at a school for Syrian partnership with The Juilliard School. recorder player Nina Stern as its refugee children in Azraq, Jordan—in Entitled “Trailblazers in Historical Director of Community Engagement. addition to Stern’s teaching activities Performance,” the interviews were recorded between December 2020 and March 2021, and feature early music author and Harvard University music professor Thomas Forrest Kelly talking with leaders in the field of historical performance. With 12 weekly videos planned, the first episode in the series featured a December 2020 conversation with Jeanne Lamon, violinist and for many years artistic director of Tafelmusik. She was honored by EMA as the 2014 recipient of the Howard Mayer Brown Award for lifetime achievement in early music. •

EMA Video Resources, www.earlymusicamerica.org/ema- ▲ Nina Stern. Photo by William Stickney Photography. video-resources.

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on the record(er) News about the recorder

change In her 15 years, she created a host of or master class. As a faculty member Cléa Galhano leaves new programs, expanded the con- before becoming director, Galhano St. Paul Conservatory servatory’s public concert season, created the Conservatory’s ever- established partnerships throughout popular Coffee Concerts series that Minnesota’s Saint Paul Conservatory the community, and enhanced the provides free noontime concerts to of Music (SPCM) has announced organization’s outreach. the community. that Executive Artistic Director Cléa New education programs begun Tripling the size of SPCM’s school Galhano will step down on June 30, during Galhano’s tenure include: outreach program, she launched: having served in that role for 15 years. • Contemporary Music • a still-growing program at Throughout the conservatory’s • Chamber Music and Academia César Chávez 2020-21 season, the SPCM celebrated Adult Chamber Music • early childhood programs at its 20th Anniversary as an indepen- • Early Music St. Paul Music Academy and dent nonprofit organization. The • a master class program Highland Montessori SPCM 20th Anniversary Celebration • and the annual SPCM Institute. • and programs at Ramsey Middle Concert on May 13 also honored Gal- She also expanded the Conserva- School and Farnsworth Aerospace. hano and her directorship. During the tory’s Suzuki instruction department Galhano also established partnerships anniversary event, it was announced and its Children’s Music Workshop. with the: that SPCM has created the Cléa Created by Galhano, SPCM’s • Schubert Club Galhano Scholarship Fund for young Artists-in-Residency program fea- • Ordway Center for the musicians to pursue studies at SPCM. tures a pair of conservatory faculty Performing Arts Galhano has overseen significant each year in public concerts at the • St. Paul Chamber Orchestra growth at the conservatory, increasing SPCM—plus the artists in outreach • Twin Cities Early Music Festival the organization’s annual budget by concerts at community venues, and, • Lute Café concert series 50% from when she became director. if appropriate, as hosts of a workshop • Macalester College • St. Paul Public Library ▼ Cléa Galhano • and University Club of Saint Paul. “Cléa has been the guiding spirit behind the success of the SPCM for the last fourteen years,” according to SPCM Board of Directors president and retired Minnesota Orchestra vi- olist Michael Adams, upon Galhano’s announcement in 2020 that she would step down. “She is such a passionate and persuasive advocate for bringing the gift of music into people’s lives. It is because of her vision that the SPCM has flourished in its mission to bring high quality music education to students of all ages and abilities. Cléa is the rare administrator who also brings high artistic credibility to the job, as she is such a highly-respected performer and teacher.” In addition to public programming, Galhano worked behind the scenes to ensure that the conservatory became

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From the ARS in the Erich Katz Music Series a stronger organization. She ex- COVID-19 Suzanne M. Angevine, panded the organization’s marketing Open those windows A Short Tale and fundraising efforts, successfully for two increasing the number of people A University of Colorado study con- basses it served and the donor base that cludes that good ventilation is (Level II). 2 scs, supports it. She relocated the Conser- as effective in decreasing COVID-19 8 pp. $5 PDF or Member vatory twice during her tenure, each transmission as extreme measures like price/ time increasing the organization’s installing an expensive air filtration $8 Others. visibility and improving its facilities. system. As people exhale, levels of Music and “It has been an honor and privilege excess carbon dioxide correspond to mp3 play- to serve SPCM throughout these higher levels of suspended COVID-19 along files years,” says Galhano. “SPCM has been particles. Adequate ventilation lowers https://americanrecorder.org/katzeditions my community, where I could always both carbon dioxide and risk of dis- dare to imagine new ideas and realize ease transmission—practical advice new dreams. I am humbled by the for many situations, from flu season support that I have received over the to dispersion of chemical fumes. years.... Our passion for providing Music for All will continue to em- www.colorado.edu/ power our faculty artists and students today/2021/03/15/7-lessons-about- to bring the beauty of music to all coronavirus-cu-boulder-scientists- segments of society and create helped-discover a better community.” The SPCM Board of Directors Arts for the Health of It formed a search committee to identify Galhano’s replacement. The National Organization for Arts The renowned Brazilian recorder in Health and Texas-based nonprofit player, who has lived in the Twin Hearts Need Art kicked off a weekly Cities area since 1992, served on the podcast, “Arts for the Health of It,” ARS Board from 1996-2002, chairing on April 15, World Art Day. Featur- the Special Events/Professional Out- ing artists, researchers, therapists reach Committee. • using creative arts, policymakers and healthcare providers, the shows en- Interview with McKnight Fellow courage listeners to include the arts in Cléa Galhano, by Anthony Griffiths their physical, mental and emotional with Cynthia Shelmerdine, care as a means to mitigate anxiety https://americanrecorder.org/docs/ and stress associated with the pan- ARfall13body.pdf demic. Hosted by Richard Wilmore Galhano’s other awards, and Constanza Roeder, the shows http://cleagalhano.com include tips and how-to information. Saint Paul Conservatory of Music, These shows build on a 2020 study www.thespcm.org from University College of London, Video announcement of the which suggests that people who spend Cléa Galhano Music Scholarship, at least 30 minutes daily on arts activi- preceded by Galhano’s memories ties have lower rates of depression and of her first music studies, anxiety plus greater life satisfaction. https://vimeo.com/523553730 https://heartsneedart.org/podcast

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instruments not just the alto: Sizes of recorder, 1660-1800

BY david lasocki

Recorders in the Renaissance existed in consorts, with sizes from sopranino to contra bass. Did those extra voices of recorders fade away in the Baroque period, leaving us with only the alto as the favorite instrument?

The author writes about woodwind instruments, their history, n the 16th century, a wide range repertory, and performance practices. In 2011 he received the of recorders was available, from ARS Distinguished Achievement Award. sopranino and sopranos in C and Since he retired from his position as Head of Reference ID down through extended contra Services in the Cook Music Library at Indiana University in bass, mostly played in consort. The 2011, he has been devoting himself to editions of Baroque music (available in American musicologist Howard print from Edition Walhall) and a series of ground-breaking books about the Mayer Brown wrote in 1995 that the recorder, all published by his own company, Instant Harmony: The Recorder Renaissance (conventionally dated and Other Members of the Flute Family in Writings from 1100 to 1500 (2nd ed., 1450-1600) “can be said to close 2018); Marc-Antoine Charpentier and the Flûte: Recorder or Traverso? (2nd ed., when recorders ceased to be played 2018); Flutes, Recorders, and Flageolets in Inventories, Purchases, Sales, and in consorts.” He cites as evidence Advertisements, 1349-1800 (2018); Jean-Baptiste Lully and the Flûte: Recorder, a quotation in 1628 from a single Voice Flute, and Traverso (2019); and Not Just the Alto: Sizes and Types of Italian writer, Vicenzo Giustiniani: Recorder in the Baroque and Classical Periods (2020). See the Store on his “Formerly the pastime of a concert of website, www.davidlasocki.com and https://smile.amazon.com. viols or recorders was much in vogue, His book on Lully was just awarded the 2021 Bessaraboff Prize from the but in the end it was discontinued American Musical Instrument Society for the most distinguished book in because of the difficulty of keeping English about musical instruments published in 2019. the instruments in tune ... and of This article, taken from his recent book, also appeared in German translation getting together the many persons to in Tibia for international readers. make up the concert.” Brown comments: “By this time the KEY: For ease of readability of sizes, I sometimes use the following abbreviations: era of the solo sonata had begun, and A = alto, B=bass, GB = great bass, S = soprano in C, S-D = soprano in D, the Renaissance was over.” In this way, So = sopranino, T = tenor, and V = voice flute. he helped to perpetuate part of the

6 AMERICAN RECORDER SUMMER 2021 HTTPS://AMERICANRECORDER.ORG FEATURES standard history of the recorder: • the demise of the consort around 1600 (or by the 1620s) • the alto as the almost exclusive size of the Baroque period (1600-1750) • and the solo sonata as its main musical vehicle, except for a hand- ful of concertos for smaller sizes of recorder. Since 1995, however, copious evidence has been uncovered that refutes Brown’s statements and creates a new view of recorder history. We now recognize that from 1600 onwards many sizes of recorder were employed in a broad surviving repertoire of both instrumental and vocal music— continuing well after 1750 into the Classical period. This is the territory I have explored in detail in a recent book, raising consciousness about what German recorder player, scholar, and conductor Hans Oskar Koch called “special forms” of the recorder. My conclusions demonstrate that these recorders were not as special as both he and we had supposed. In the present article, I summarize one chapter of my book: sizes of recorder after the invention of the Baroque type of instrument around 1668. I make use of three types of evidence: • first, writings: inventories of Courts, cities, musicians, instrument makers, and publishers; treatises and dictionaries; newspaper advertisements; and records of purchases and sales of instruments. • second, the surviving repertoire. • third, surviving instruments as surveyed by other researchers. ▲ I have left works of art for another Cover image from David Lasocki’s recent book, Not Just the Alto. researcher another day. From left to right, the recorders are: sixth flute by Thomas Stanesby, Jr. (baptized 1692-1754); fifth flute by Jan Steenbergen (c.1676-1728 or later); Consorts alto recorder by Peter Bressan (1663-1731); voice flute by Peter Bressan; Between 1600 and 1660, sizes from tenor recorder by Hotteterre family, 17th or 18th century; bass recorder by sopranino down to contra bass were Thomas Boekhout (1666-1715), Deutsches Museum, Munich, Germany, still around. Many “consorts,” of be- photo by Konrad Rainer. All recorders except bass, collection of tween five and 14 instruments, Frans Brüggen and photos by Markus Berdux. are mentioned in inventories and Cover design by Markus Berdux.

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purchases of recorders for Courts, cities and towns, monasteries, churches, individual musicians, an amateur music club, and individual amateurs in Argentina, Austria, Colombia, England, Estonia, France, Germany, the Netherlands, Poland, Romania, Spain and Switzerland—and even the customs duty on instruments coming into England in 1660. After 1660, a number of recorder “consorts” or “sets,” no sizes named, are listed in: • sale catalogs in the Netherlands and England • The Hague (four recorders, owned by a doctor, 1686) • The Hague (1689) • Leiden (four recorders, doctor, 1690) • and London (1701). They also show up in: • the requirements for the Anhalt- Zerbst Court Kapelle (1699); inventories of monasteries in Ossegg, Bohemia (1706) and Kremsmünster, Austria (1710) • a letter from the Basel woodwind maker Christian Schlegel (1708) • and much later on, recorders by the London maker Peter Bressan (1774). Duets and The sales of instruments belonging to doctors show that amateurs could trios own consorts, presumably for domes- tic playing. The wording of the adver- in the tisement for the London sale in 1701, David “a consort of flutes and flageolets, all in one box, that any person may play Goldstein a tune in a minute’s time,” suggests that the organizers of the sale were Series anticipating an amateur purchaser. Volumes I & II Fortunately, other documented consorts intended for professionals have numbers and sizes spelled out: The ARS has made these available as a tribute to the • Dutch maker Richard Haka’s life and legacy of this beloved recorder player, gambist, invoice for the Swedish Navy composer/arranger and New York pediatrician. Alan Karass in 1685 (2So 2S 3A T B) has selected and edited music from the David Goldstein • Haka’s larger consort in the Collection at the Recorder Music Center at Regis University, Florence Court inventory Denver, CO. ARS members may purchase each volume for $5 of 1700 (4So 4S 4A 2T 2B) each at the ARS Store: https://americanrecorder.org/goldstein.

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• a consort probably by the Bassano Overview of Sizes family in the same Florence inven- Aft er the advent of the Baroque type tory (2S 3A 4T 2B) of recorder around 1668, the alto in • Nuremberg maker Jacob Denner’s G generally shift ed to F. Despite the from 1600 onwards many sizes invoice for the Duke of Gronsfeld in alto being specifi ed in virtually all the of recorder were employed in 1710 (4A T 2B) published music aimed at amateurs, a broad surviving repertoire • and Denner’s estimate for Göttweig especially the large quantities of solo of both instrumental and vocal Abbey around 1720 (3A T 2B). and trio sonatas, all the sizes from music—continuing well after Th ree consorts have even survived: before 1660 crop up again in music 1750 into the Classical period. made by Bressan (A V T B), Johann performed by professionals aft er 1660: Benedikt Gahn (2A T B), and • So and B (fi rst documented in an Jean Jacques Rippert (originally instrumental Mass by Marc-Antoine Between 1674 and 1693, Marc- 2So 2A 2T B). Charpentier, Paris, 1674) Antoine Charpentier used it on the Airs or arias that specify three or • S (an opera by Pascal Collasse, bass line, sometimes third line, in four sizes of recorder are found in Paris, 1690) both vocal and instrumental music surviving vocal music composed in • T and GB (a ballet by Lully, when recorders or transverse fl utes Austria, England, France and Ger- Versailles, 1681) (or both together) were on the top many by Heinrich Biber, André Cam- • and S-D (“sixth fl ute,” a concert lines. Aft erwards the bass had a steady pra, Marc-Antoine Charpentier, Anne advertisement, London, 1720). existence for playing the bottom or Danican Philidor, Johann Christoph Two new sizes were introduced third line when other sizes of recorder Faber, Gottfried Finger, Johann Peter during this period: voice fl ute in d1 (A V T) were employed in secular and Guzinger (attrib.), Jean-Baptiste Lully, (an eclogue by Lully, 1668) and sacred vocal music in Austria, En- 1 Ferdinand Tobias Richter, Agostino fourth fl ute in b (mentioned in a gland, France, Germany and Italy. Steff ani, Georg Philipp Telemann and treatise by James Talbot, Cambridge, Th e bass recorder was indicated for Johann Hugo von Wilderer. Excep- written 1692-95; Suites by Francis the bass line of six collections of solo tionally, Michel Pignolet de Monté- Dieupart, 1701). Th e sizes other than and trio sonatas for recorder pub- clair’s opera Jephté (Paris, 1732) calls the alto were sometimes named in re- lished in London between 1702 and for fi ve sizes (So S A T B), including lation to it: octave (an octave higher), 1724, although the ranges of the lines one air that employs them together. sixth fl ute (a sixth higher), fi ft h fl ute suggest that sometimes only a switch (See Example 1 on page 10.) (a fi ft h higher), etc. of “bass instrument to the recorder” Th e only signifi cant surviving piece was intended. In any case, these publi- of music for instrumental consort Bass cations imply an amateur market that is the Concerto di fl auti by Alexan- Two German writers, Johann Samuel could include the bass recorder. dro Marcello (2S 2A 2T B, doubling Petri (1782) and Christian Daniel Th e size was also used in a few strings), probably intended for ama- Friedrich Schubart (1784-85), re- ensemble concertos and recorder teurs to play in the Accademia degli ported that in the 17th century a pair consorts in England and Germany, Animosi in Venice, of which he was of alto recorders was accompanied tailing off in the 1720s. Inventories a keen member. (See Example 2 by the bass recorder, which Petri said and sales suggest a similar falling off on page 12.) had now gone out of fashion because in the Netherlands, but examples were A similar-sounding concerto by it requires “so much breath.” Th e sur- still being sold there as late as 1776 Marcello was among the posses- viving repertoire supports this view of and possibly 1789. sions of another amateur, the Danish earlier times. Th e trio sonatas from the Berlin customs inspector Stephen Kenckel, Th e Dresden Konzertmeister Court in the 1750s by C.P.E. Bach in 1732. Kenckel owned several re- Johann Georg Pisendel’s addition of and one of the Graun brothers that corders (two small, fourth fl ute, four “pour le Flût” (for the recorder) to assign the bass recorder a solo part probably altos, and bass) that could the bass line, in a manuscript copy of (paired with viola, bassoon or cello) have been used to play the concerto a concerto by Telemann for two alto are unique in both instrumentation with the collegium musicum he seems recorders and strings, suggests that the and lateness. to have run in Helsingør (Elsinore). bass recorder was used more oft en than Th e great bass seems to have played notated—if an instrument was available almost no part in the repertoire. when recorders took the top parts.

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Example 1. Michel Pignolet de Montéclair (1667-1737), “Ruisseaux, qui serpentez” from Jephté (1732), opening

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Sopranino for the flautino or flauto piccolo in All the small sizes of recorder often 17 works between 1771 and 1791. The supplied the “high flute” timbre until concept, keys, and range mostly sug- the surge of popularity of another gest sopranino or soprano recorders. duct flute, the flageolet, around 1800. The composer himself revealed that the They all had the advantage of being choice of piccolo or small recorder de- heard easily above other instruments. pended on the local performing group. Despite being the least represented The sopranino was still being made by surviving examples, the sopranino by Andrea Fornari in Venice in 1791, is second only to the bass in frequency and examples show up in inventories in the surviving repertoire. First used and sales in France and the Nether- by Charpentier (1674 and 1685), the lands as late as 1795. In London, it instrument was designated in secu- was also still listed in the catalogs of lar vocal music in England, France, the makers and dealers Astor (1799), Germany, Ireland and Italy—espe- Goulding (1800), and Clementi (1823). cially “bird arias,” where it represents the bird, into the 1730s, then almost Tenor exclusively in England into the 1790s. The Baroque tenor recorder is It featured as a solo or duet instru- first documented in Lully’s ballet Le Please support our ment in concertos in Germany and Triomphe de l’Amour (1681) as the Italy between 1719 and about 1785— second voice in a consort. (See Exam- loyal advertisers! most notably in the now-famous ple 3 on pages 16-17.) Both vocal mu- works by Antonio Vivaldi, which sic of Bohemian-Austrian composer celebrate the small recorder’s ability Heinrich Ignaz Franz Biber (1682) to imitate the rapidity and ebullience through French composer Montéclair of the violin in passage work in the (1732) and instrumental music from fast movements and to negotiate Italian composer Pompeo Natale complicated ornamented lines in the (1681) through German composer slow movements. In Germany the Johann Christoph Faber (by 1731) sopranino was occasionally specified treat it as the middle or lowest voice in in chamber music and orchestral a group of recorders. The names used music by Telemann and others into for the instrument also point to its the 1770s. middle quality. Only in a few cantatas The piccolo (octave transverse flute) by Alessandro Scarlatti and Nicola was developed by 1739, as docu- Porpora is the tenor size treated mented in Michel Corrette’s flute as a melody instrument, a lower method and two years later in a Court version of the alto. inventory in Berleburg, Germany. It Although the tenor continued to be was immediately adopted in France, mentioned in books and inventories as witnessed by the operas and ballets on the continent of Europe through of Jean-Philippe Rameau. An ad- 1801, it seems telling that the only vertisement by the maker Vincent English source of the first half of the Panormo in 1772 claims that the 18th century is a pamphlet by Thomas sopranino recorder was unknown Stanesby, Jr. (c.1732), promoting not in France and used mostly in Italian the alto (“concert flute”) but the tenor orchestras (although no repertoire for as “the true concert flute”—because it it seems to have survived). has a similar range to the transverse Wolfgang Amadeus Mozart wrote flute and oboe. Not only did

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Example 2. Alessandro Marcello (1673-1747), Concerto di Flauti, Third Movement, opening

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Stanesby’s attempt fail to catch on, will in 1721 The fact that James Paisible, recorder history swung away from • a purchase by the Court of George II the most prominent recorder the sizes larger than the alto. in 1732 player of his day in England, • instruments at two diff erent pitches owned two voice ﬂ utes sug- Voice Flute in Edward Finch’s fi ngering chart by gests that the size had a use My own theory is that the voice fl ute 1738 that is not obvious to us. I know originated in France to perform the • an instrument by Bressan in Michel of no evidence that it was used second part in Lully’s airs with two Charles Le Cène’s inventory of 1743. to play transverse ﬂ ute parts, recorders on the top lines, in parallel Th e surviving repertoire includes: as is often done nowadays. with the high soprano and regular • four suites by Francis Dieupart soprano voice, between 1668 and (1701) 1676. Th e voice fl ute can be traced • an opera by the German composer composer Arcangelo Corelli’s from: Johann Hugo von Wilderer (1703) concerti grossi (London, 1725). • Th omas Britton’s commonplace • an arrangement of an opera by Nevertheless, the fact that James book around 1674 the Italian composer and string Paisible, the most prominent recorder • James Talbot’s manuscript around player Giovanni Bononcini player of his day in England, owned 1692-95 (1711-25) two voice fl utes suggests that the size • a probable mention in a 1711 • a quintet attributed to Jacques had a use that is not obvious to us. inventory of goods belonging to Loeillet but possibly of English I know of no evidence that it was Martin Hotteterre’s wife origin (manuscript, 1720s?) used to play transverse fl ute parts, • two instruments in James Paisible’s • and an arrangement of the Italian as is oft en done nowadays.

▼ Three instruments made by Thomas Prescott show the voice fl ute’s size relative to alto and tenor recorders—and also why some describe it as a small tenor, and others a large alto. Top to bottom, all pitched at A=440, the instruments are: tenor in c' by Johann Christoph Denner (1655-1707), in plumwood, based on an original in c' at A=460 in the Germanisches Nationalmuseum, Nuremberg; voice fl ute in d' by Peter Bressan (1663-1731); alto recorder based on a Peter Bressan alto recorder bore with exterior design inspired by Jean-Jacques Rippert (fl ourished 1696-1716). Courtesy of Thomas Prescott.

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Other Small Sizes • and Vivaldi (late 1720s-early 1730s), The third flute (1746) and the sec- The sixth flute (soprano in D) is when the composer indicated two of ond flute (1770, the alto in G under documented primarily in England. his sopranino concertos for transpo- a new name) entered the picture as The most notable examples of works sition to the soprano for at least one part of a series of higher sizes pitched for this size are: later performance. a specific interval above the alto, • the possible original version of G.F. The size is also specified in vo- apparently for ease of performance Handel’s Concerto Grosso, Op. 3, No. cal works by Carlo Agostino Badia by professionals on other instruments 3 (Cannons, England, 1717-18) (1699), Campra (1702), Telemann and for amateurs. Sizes of recorder a • an obbligato part in Bach’s can- (1729), Handel (1735), and Thomas second, third, fourth, fifth, sixth and tata Ihr werdet weinen und heulen, Arne (1740), as well as instrumen- octave above the alto were being sold BWV103 (Leipzig, 1725) tal music by Diogenio Bigaglia (by in England in 1799-1800, and • and the London concertos by Wil- 1717), Handel (Water Music, 1717), a seventh above in 1823. liam Babell (c.1726), Robert Wood- and Johann Samuel Endler (1759). A cock (c.1727), and John Baston claimed concerto da camera by To- Surviving Instruments (1729). maso Albinoni for soprano recorder English editor and teacher Andrew It also features in arrangements and basso continuo, published in a Robinson compiled a revealing table from operas and concertos made in modern edition, is almost certainly by nationality of maker from the England and Germany. a fake. recorders listed in Phillip T. Young, In the surviving repertoire for the The fourth flute (soprano inb B ) 4900 Historical Woodwind Instruments fifth flute (soprano), again pride was specified in two suites by (1993). More instruments have come of place goes to concertos by: Dieupart in 1701. The same size, to light since 1993, and more is known • English composer John Baston under the name tenorino (little tenor) of their provenance, but I take it that (1729) experienced a late blooming in the general principle is sound. • Giuseppe Sammartini (London, music by Italian composers performed In the table below, numbers 1729-35), one of the staples of the at the Einsiedeln monastery, Switzer- from the Netherlands have been modern recorder repertoire land, in the 1770s. replaced by the similar but more current ones from Jan Bouterse,

Surviving 17th- and 18th-Century Recorders of the Baroque Type. By Country of Maker.

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Dutch Woodwind Instruments (2005). than 16 recorder players performed three, four, or six to a part in chamber The “soprano” category includes sixth music, and six to a part doubling the strings in an overture. Where there are flutes and fourth flutes; the “tenor” instruments and players, there will be music.... • category, voice flutes. Totals are rounded to the nearest percent. Altos represent just over half of the RESOURCES of interest: surviving instruments. A larger pro- portion of small recorders (sopranino • Bouterse, Jan. Dutch Woodwind Instruments and their Makers, 1660-1760. and soprano) survives from the Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, Netherlands where, throughout the 2005. 17th century, such sizes are depicted • Koch, Hans Oskar. Sonderformen der Blasinstrumente in der deutschen copiously in works of art and men- Musik vom späten 17. bis zur Mitte des 18. Jahrhunderts. Inaugural Diss., tioned in treatises. Ruprecht-Karl-Universität zu Heidelberg. Bobenheim-Roxheim: the author, Basses have come down to us by 1980. most of the well-known makers: • Lasocki, David. The Creation and Dissemination of the Baroque Recorder Thomas Boekhout, Bressan, the and Traverso, with Looks at the Cromorne, Oboe, Flageolet, and Bassoon. Denners (about half of the surviving Portland, OR: Instant Harmony, forthcoming in 2022. basses), Haka, the Hotteterres, the • ———. Not Just the Alto: Sizes and Types of Recorder in the Baroque Oberlenders, Rippert, the Rotten- and Classical Periods from Writings and Repertoire. Portland, OR: Instant burghs, Johann Schell, Jeremias Harmony, 2020. Available in print from https://smile.amazon.com and Schlegel, and Thomas Stanesby as a pdf from https://davidlasocki.com. Senior. Two surviving great basses of • ———. “The Voice Flute and its Origin.” American Recorder 58, no. 2 the Baroque type have been reported. (AR Summer 2017): 6-19. Robinson rightly points out the • Robinson, Andrew. “Families of Recorders in the Late Seventeenth problems with this kind of evidence: and Eighteenth Centuries: The Denner Orders and Other Evidence.” the survival of instruments by chance, The Recorder Magazine 23, no. 4 (Winter 2003): 113-17; 24, no. 1 their greater chances of survival in (Spring 2004): 5-9. Reprinted in one part with corrections in institutions than in homes, some ARTAFacts 9, no. 4 (December 2004): 11-21. recorders being made for export. Nev- • Thomson, John Mansfield, with Anthony owland-Jones,R ed. ertheless, the evidence confirms that The Cambridge Companion to the Recorder. Cambridge: Cambridge recorders of all sizes were made across University Press, 1995. Chapter by Howard Mayer Brown, “The Recorder northern Europe. in the Middle Ages and the Renaissance,” pp. 1-25. • Young, Phillip T. 4900 Historical Woodwind Instruments: An Inventory of Closing Thoughts 200 Makers in International Collections. London: Tony Bingham, 1993. We have seen that the written evidence, surviving instruments, and surviving repertoire show that many ▼ Bass Recorder by Johann Schell, c.1700, Germany. Although seldom sizes of recorder besides the alto played on its own, the bass recorder provided important harmonic and were available during the period rhythmic support to the recorder consorts during the Baroque period. 1660-1800, with a trend towards the This is one of four surviving bass recorders by Schell, one of the most higher sizes. The writings and instru- respected Nuremberg recorder makers of his generation. Photo courtesy ments, especially the consorts, imply of The Metropolitan Museum of Art, New York, Open Access Images, that a great deal more repertoire was www.metmuseum.org. composed or adapted than has come down to us, and traditions of playing must have existed that went beyond the notation. I keep thinking of a music club in Edinburgh, Scotland, around 1710 where 30 amateurs and professionals played together in a concert. No fewer

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Example 3. Jean-Baptiste Lully (1632-87), “Prelude pour l’Amour” from Le triomphe de l’Amour (1681)

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rik Bosgraaf is considered to be An Interview with Erik Bosgraaf one of the world’s most talented Erecorder players, a sort of rock star among recorder virtuosos. He is a visiting professor at the Amsterdam Conservatory and the Kraków Music Academy in Poland, and gives master classes all over the world. Bosgraaf’s name has appeared American Recorder editor Gail Nickless talks with in AR multiple times over the Dutch professional recorder player Erik Bosgraaf years, including an interview in AR May 2008 that touches on the philosophy behind his DVD, Big Eye (also reviewed in “On the Cutting Edge,” AR September 2007). His eclectic approach to music includes improvisation, use of electronics and working with people in other areas of artistic endeavor such as cinematography. On some 18 recordings, his repertoire extends from Medieval music to Vivaldi’s Four Seasons to tomorrow’s music. In this issue’s Critique department is a review of ▼ Blowing bubbles. Erik Bosgraaf in 2019 with Jacob 3.0, http://jacob30.nl. his most recent recording of French Photo by Paul and Menno de Nooijer. Baroque music (Le Plaintif, with Izhar Elias, Baroque guitar, Israel Golani, theorbo, Alessandro Pianu, harpsichord, and Robert Smith, dessus and bass gamba). In 2011 Bosgraaf received the Netherlands Music Prize, the most important classical music prize of the Dutch state. He is the first and only recorder player to receive it since the prize was introduced in 1981. He also won the Borletti-Buitoni Trust Award (2009), plus awards in 2012 including the Northern Dutch music prize and an invitation to travel with an international Rising Stars tour by the European Concert Hall Organization, having been nominated by the Amsterdam Concertgebouw and Brussels fine arts center BOZAR. Bosgraaf has played with orchestras from Japan and Australia to the Neth-

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erlands and the U.S. (where his debut was with the Dallas Symphony Or- chestra conducted by Jaap van Zwe- den). Besides being a professional solo recorderist, he has become an inspiring conductor, regularly invited to lead the orchestra himself. If not playing the recorder, he leads from the harpsichord—or, in Classical and later repertoire for chamber orchestra, conducts from the podium. His upcoming performances include an online concert for the Boston Early Music Festival (playing a program of Telemann sonatas with Francesco Corti) and an online master class, both on June 10.

GAIL NICKLESS The first question most people would ask is how you started playing recorder. In the YouTube interview you did with 761 N. Cherokee Rd, Suite C, Social Circle, GA 30025 Sarah Jeffery for Team Recorder, you mention detours on the path to your musical career—but you latched on to the recorder and stuck with it as your musical voice. It sounds like you reached a sort of a pivotal moment in your approach to performing and to playing the recorder. Can you elaborate on how you arrived at your current relationship with music?

ERIK BOSGRAAF As human beings, things happen often by chance—or, depending on your view of life, as part of fate. I started playing the recorder like many kids, as an instrument leading to a “real instrument,” the oboe in my case. The oboe then didn’t turn out to be the instrument I envisioned it to be, whereas the recorder was so much more than I thought! It really was a gift that kept giving and soon enough I was playing all the different sizes and types, played in ensembles and recorder orchestras. Since my

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⊲ 1: Erik Bosgraaf demonstrates hand position during an online master class with the Tel Aviv Recorder Festival in July 2020. The longest finger on each hand is the most curved.

2: Recording session in the Musikbrauerei, a recording studio in an historical building in Berlin, Germany, https://musikbrauerei.com. For the recital as part of the upcoming Boston 2 Early Music Festival, with harpsichordist Francesco Corti. Photograph by Bene Brandhofer.

3: Bosgraaf delivers a virtual lecture on Telemann and rhetoric. For students at Seoul National University.

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appetite for music was insatiable original octaves and motivated I feel that it is my duty as a I started learning basso continuo, myself to make it possible! professional recorder player, saxophone, piano, music theory and I feel that it is my duty as a profes- not to merely repeat what reading musical dictionaries.... sional recorder player, not to merely generations before have done, Meanwhile I joined my best friends repeat what generations before have but to expand the horizons. in a rock band and got to taste a done, but to expand the horizons. whole other approach to music: song writing, arranging and produc- Teaching ing songs for albums. In my teenage GN I audited a master class you gave EB I try to be well rested—it is men- years I had exclusively played Baroque in July 2020, off ered on Zoom by the tally taxing! I’ll have my mug of tea music, so during my studies I was Tel Aviv Recorder Festival (TARF). and some snacks next to my screen— fascinated by the possibilities of new Was that one similar to the format of although not too close, hahaha! music and working with composers, the master class you will lead for the I think one of the advantages is especially in putting the recorder in Boston Early Music Festival (BEMF)? screen sharing, so it is easier to point new settings like in front of symphony How do you prepare in general for out things quickly in a score. In the orchestra or next to a DJ. master classes, where the participants chat window, one can keep notes of One could say that the recorder are likely to be of such varying levels important terms that later can be was always the prism through which of profi ciency and perhaps of diff ering researched more in depth. Especially I looked at other aspects of music. backgrounds? with all the diff erent Latin, Italian, I feel it has enriched and informed French and German words, this is my recorder playing profoundly. EB At this point I don’t know how it quite useful to get the right spelling, will go, but I guess the BEMF event and also to copy and paste hyperlinks GN I think you’ve made adaptations will go similarly. I try to help a stu- to online sources for further reading. of existing works for other winds, so dent to the best of my abilities and try that they could be played on recorder, to be aware of the watching audience GN In your YouTube interview with but also you’ve collaborated with and make sure there is something to Sarah Jeff ery, you say that everyone composers as they have created learn for all levels. It is certainly not doubts themselves, even professional new compositions for recorder. easy to keep master classes interesting performers—doubt becomes a mo- How do you approach both types for everyone, as there easily can be an tivation to improve. How can a less of activities—adapting and creating? overkill of musical terms—but I try to confi dent player not let doubt take Do your varied experiences—rock keep it very “hands on” and practical. over when starting a new piece, or band, other instruments you’ve I think my role is not only to pro- avoid freezing up when performing? played—infl uence these activities? vide information, but also to start a process of self awareness in which I EB Th is, I am afraid, is a matter of EB Adapting a work can be a creative merely act as a mirror without judg- practicing with a positive mindset. experience, which allows you to make ing anything. If a student becomes An encouraging teacher obviously a work “fi t like a glove,” even more so aware of this and also gets interested helps too! than some works originally written in the process of learning, we can start I also fi nd that improvisation really with the recorder in mind! In the case something called “deliberate practice,” helps to create a view of music that of Pierre Boulez’s Dialogue de l’ombre which is inspired by the book Peak by is more free. With written music the double (for clarinet and electroacous- Anders Ericsson. wrong notes are more obvious be- tic device), I found that the process cause there is a clear road map, of trying to play that work led me GN Is there anything that you do and that can be intimidating. to move the boundaries of what I diff erently to personally prepare for a In addition, in the process of study- thought was possible on the instru- Zoom master class? Do you suggest ing a piece, one could “improvise” ment—instead of changing notes that Zoom master class participants the piece. For example, instead of to feel “more comfortable,” I mostly do anything diff erently themselves to only practicing a Van Eyck piece opted for keeping the notes in the prepare? note by note, one could improvise

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Thoughts on practicing Very often mistakes due to nervousness come because Anders Ericsson and of trying too hard not to make Robert Pool studied skill mistakes! improvement and described their conclusions in Peak

and play around with several motives. GN During the TARF master class last WRITTEN BY What is important here is not to summer, you talked a little about your ERIK judge too much and keep it sim- new CD, Le Plaintif, and mentioned BOSGRAAF ple. Only by slowly expanding one’s that the highest instrument you play comfort zone, in the same ways on that recording is an alto pitched recommended in Peak, can one gain at 392. Can you tell us more about more confi dence. I fi nd it inspiring how you tried to create what you to see how toddlers are happy to called a “dark brown sound?” ast year I read K. Anders make mistakes with confi dence. With Ericsson‘s book, Peak: Secrets puberty comes shame—and that is a EB Recorders are typically known from the New Science of very limiting factor for learning and as high and virtuosic instruments. LExpertise, and I realized that the expression generally... For this CD I wanted to do the exact cognitive fl ow chart (on page 23) that opposite and use the vocal and more I have used with my students and Performing dark timbre of the lower recorders as myself over the last 10 years actually GN You also mention when talking a way to underline the plaintive quali- has scientifi c foundations. with Sarah Jeff ery that, in the minutes ties of the music. Ericsson talks about “deliberate before you perform, “concentration practice,” which is his alternative to is overrated”—it’s too late to practice GN Th e report that Alice Derbyshire such popular notions as the “10,000 at that point. You chat with the wrote about your Dallas (TX) visit hour rule” (a myth that it takes 10,000 backstage crew and then focus on and U.S. debut performances in 2013 hours of practice to achieve mastery) the music as you walk on to the (Fall 2013 AR) gave us a picture of or to the adage, “no pain, no gain.” He stage. How did you develop the you as an amiable evangelist for the includes a few essential ideas: discipline to be able to switch over recorder, and also a sort of recorder • don’t repeat something too oft en so quickly when you really need rock star. How do you see yourself? • go a bit out of the comfort zone, to be engaged? Have the awards you have won helped but not too much you in any of these eff orts? • have a good teacher EB Very oft en mistakes due to ner- • and practice effi cient mental vousness come because of trying EB Well, the awards help, but they are representations. too hard not to make mistakes! By of no value during a performance! Next to the physical and social joy focusing on story telling during (and You’re only as good as your last of making music, I have always been before!) the performance, the subject concert—I believe that very strongly. captivated by the idea of “mental of the story becomes the focus, not Even more so with the awards and practicing” as a means to improve. the individual notes. In my experi- CDs, I feel that expectations are I have diffi culty listening to my own ence, trying to be some superhero higher. sound for a prolonged time; also, with is bound to go wrong and makes it Alice wasn’t the fi rst one to compare the pre-COVID travel schedules of a nearly impossible to arouse empathy me to a rock star, so apparently there touring musician, this mental prac- from the audience through our music. are some elements of my past life as ticing can be a useful learning tool. a rock musician seeping through! • In my experience the benefi ts are endless: less dependence on the score, higher technical profi ciency, more

22 AMERICAN RECORDER SUMMER 2021 HTTPS://AMERICANRECORDER.ORG An Interview with Erik Bosgraaf, plus his thoughts on practicing features confidence in playing, and therefore distinguish structural elements such ing. This is mostly well-developed more joy and freedom in playing! as harmony, temperament, form, in recorder players with instruments A practicing process can be visu- instrumentation or style. in C and F—but with less common alized by a number of connections. • I finger, I know refers to a player instruments like voice flute, this can While practicing I make sure that I connecting a fingering with the note become more challenging. avoid going on autopilot by focusing name, for example. With so many • I see, I know deals with analyti- on these different connections. Not recorders in different sizes, this is cal ability—for example, to distill only does this provide variety, but it not always easy! harmonies from a single note. As a also increases effectiveness. Here are • I know, I finger refers to connecting result, one could draw conclusions connections you can try to make. note names or chords with the cor- about musically important moments • I see, I hear is all about sound rect fingerings. like cadences. imagination. It can be practiced by • I see, I finger is well-developed • I know, I see: one can only visually singing the notes in front of you, with classically trained musicians as recognize what has been previously either aloud or in your head. they are taught to read music. Very learned. Thus only after one has ac- • I hear, I see can be practiced by often a note on a staff is first con- quired knowledge about harmonies musical dictation, writing down nected to a certain fingering, or musical figures can one recognize a melody one hears. and only then to a certain pitch. those. • I know, I hear is about acquiring This aspect is challenged by the • I finger, I hear is one of my favorite knowledge that allows one to recog- different historical clefs, such as exercises, where the student has to nize a melody when one hears it. the French violin clef. hum the piece while fingering the • I hear, I know is about a more • I finger, I seeis a connection that fingerings. A next step is humming cognitive approach to listening. can be improved by imagining the “internally” to practice the sonic In this aspect, one practices to note on the staff based on the finger- imagination of the piece. This will

Flow chart. How connections among senses can make practice more effective. Used with the author’s permission.

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also lead to better intonation. • practice in different tempi, I feel that I am still learning how to • I hear, I finger can be trained in a mainly a lot slower practice, trying out new things and playful exercise: one student plays • practice a piece on different being playful in the process. I would or sings notes, and the other has to recorders encourage you to reflect on your prac- finger them (without blowing). • leave the comfort zone slowly ticing routine, and I hope it can keep Here are some ideas that I suggest to and cautiously providing joy and inspiration my students to help them improve: • be patient. for years to come! •

What if I’m not a prodigy—or if I don’t even have a teacher? “Both the brain and the body retain a great deal of adaptability throughout adulthood, and this adaptability makes it possible for adults, even older adults, to develop a wide variety of new capabilities with the right training,” according to the research findings of Ericsson and Pool. What sort of practice helps most? What if no teacher is available? Hardly anyone likes to practice just for the sake of it—most of us practice to improve. That won’t happen if all one does is naive practice, a sort of automatic practice lacking goals—repeating a section of music without variation or strategies for improvement. This may be fine if you just want to play for fun. What if you want to improve? The next step beyond naive practice is purposeful practice, which takes you outside your comfort zone, in a focused way with clear goals or a purpose. There should be a means to receive feedback: ways to monitor progress and to stay motivated in moving towards goals. This type of practice works by stringing together a series of small improvements that add up to major change. It is best accomplished during time that you set aside only for practice, with no disturbances. If your goals are to increase speed or finger dexterity, you might videotape yourself, make an audio tape, play with a metronome. You might set a target to increase the tempo of a piece, gradually increasing the metronome setting. If you reach a point where you can no longer play without errors, you could back off two metronome notches, to a speed where you can comfortably play the piece—then push the boundary again by increasing the tempo. Another goal might be to play the piece all the way through at the proper speed without mistakes, three times in a row. Practicing in front of a mirror can give you visual feedback about how you hold the recorder or move your fingers. Erik Bosgraaf suggests that you might focus on an individual element in greater depth or detail. For instance, you might concentrate on finger position, which also will help with hand position. (He also recommends the clear explanation of hand position in Walter van Hauwe’s book, The Modern Recorder Player.) You might strive to be more expressive. On your own, you could listen to professional players who perform with the type of expression you want to emulate, and then devise practice techniques to make that specific kind of improvement. Your mental representation of the sound you want to achieve might draw on Bosgraaf’s ideas for I see, I hear or I finger, I hear. To achieve even more progress, deliberate practice is the next step: it builds on purposeful practice. It would mean finding an expert and experienced recorder teacher/coach who actively guides your practice and learning techniques. The type of feedback that a teacher can give leads to steady improvement via deliberate practice. •

Resource: Peak: Secrets from the New Science of Expertise, by Anders Ericsson and Robert Pool. Various formats including hard cover, paperback, e-book and audio book. Eamon Dolan/Mariner Books (reprint edition, 2017).

Links of interest:

• www.erikbosgraaf.com • Boston Early Music Festival, June 10 master • www.youtube.com/user/anonymous2220 class and recital: https://bemf.org/2021-festival/ • Team Recorder Pro Files, Sarah Jeffery with Erik schedule-of-events (see LISTEN & PLAY on Bosgraaf: www.youtube.com/watch?v=IPYq4nO_E7M; page 25 for more information about BEMF 2021) improvising, www.youtube.com/watch?v=1Wec7gwWFlE • Video of Erik Bosgraaf and Francesco Corti (Bosgraaf’s ideas on improvising will also be compiled playing Telemann (Brilliant Classics 95247): as part of an article on improvisation in AR Fall 2021) www.youtube.com/watch?v=Qo5uGzwYr7k

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star-crossed lovers explore Venice, enjoying games, dances and an “opera within an opera”—a miniature Italian opera on the Orpheus myth. Record- More about summer events erists in the BEMF Orchestra are Gonzalo Ruiz and Kathryn Montoya. Also see AR Spring 2021 for previous listings. G.B. Pergolesi’s La serva padrona & Livietta e Tracollo will be streamed on June 12 in a premiere of 2014 archival video from the intimate chamber opera. Originally written as interludes to be performed between acts of a more somber production, Pergolesi’s light-hearted comedies feature farcical humor and engaging romance. For this production—in a nod to the original presentations—stage director FESTIVALs from around the world, all available Gilbert Blin alternates scenes of the to audience members anywhere. In- two works. June 6-13 and 14-20 cluded are two archival opera perfor- Boston Early Music Festival mances, 14 newly-recorded concert Exhibition/concurrent events Online performances, a virtual exhibition. (all free to watch) Directors: Paul O’Dette, Since 1981, the heart of BEMF has Stephen Stubbs Operas been its world-famous exhibition— Guest Artists: Erik Bosgraaf, recorder; The fully-staged 2017 centerpiece this year comprising virtual booths Doulce Mémoire; other recorder- production of André Campra’s Le available June 6-13—a place to learn related events Carnaval de Venise premieres online about some of the industry’s new and The 21st biennial Boston Early Music June 6. The delights of Carnival come leading instrument builders and many Festival (BEMF), Music of Solace and to life in a dazzling three-hour spec- service organizations (including the Joy, features exclusive performances tacle of enchanting dances, period-in- ARS) and to browse photos and vid- and free events by over 100 artists spired costumes, and grand sets. Four eos of their offerings. An interactive event on June 12 will give the oppor- tunity to ask questions of exhibitors in Zoom breakout rooms. Other 2021 Festival free concurrent events include: • June 12, 9 a.m., Family Day with BEMF Director of Community Engagement Nina Stern, Recorders Beyond Borders: Boston Meets Kenya • a retrospective on the BEMF Dance Company; dance director Melinda Sullivan will teach two dances • a video presentation on the BEMF Young Artists Training Program (ages 19-27) • performance master classes • pre-opera and pre-concert talks • Ensemble Correspondances ▲ Erik Bosgraaf, recorder; Francesco Corti, harpsichord. Lucile Richardot, mezzo-soprano Photograph by Marco Borggreve. Sébastien Daucé, director

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Perpetual Night: 17th-century Ayres and Songs June 7, 12 noon Recorded December 8, 2020, at Théâtre des Bouffes du Nord, Paris, France • Juilliard415, Robert Mealy, director & violin Terpsichore: A Baroque Dance Mix June 9, 10 p.m. Recorded April 12, 2016, at Tully Hall, Lincoln Center, New York, U.S.

Virtual fringe concerts (free) One of the most important features of every BEMF is an array of fringe concerts featuring accomplished musicians and wide-ranging repertoire, offered by emerging and established artists alike—and the recorder is always well represented. A week of free virtual fringe concerts will immediately follow the main Festival—premiering June 14-20, and remaining available free on YouTube, through the whole summer.

Recorder-related festival July 24 – 29, 2022 events (tickets $10 per event) • Doulce Mémoire Denis Raisin Dadre, director Leonardo da Vinci: The Hidden Music June 7, 8 p.m. (also pre-concert talk) Recorded at Château du Clos Lucé, Amboise, France • Erik Bosgraaf, recorder Francesco Corti, harpsichord The Recorder Sonatas of Georg Philipp Telemann June 10, 10 p.m. Recorded at Musikbrauerei Säulenhalle, Berlin, Germany

Master classes (free) Participant performances will be pre-recorded for a live coaching on Zoom with a Q&A for the audience. • Erik Bosgraaf, recorder (presented in collaboration with ARS) June 10, 4-6 p.m.

26 AMERICAN RECORDER SUMMER 2021 HTTPS://AMERICANRECORDER.ORG Events LISTEN & PLAY

• Laura Jeppesen, viola da gamba August 14–21 (presented in collaboration with the Early Music Week at Viola da Gamba Society of America) Pinewoods June 11, 4 p.m. Plymouth, MA, or online TBA • Ellen Hargis, Paul O’Dette & One of the oldest folk organizations in Stephen Stubbs, 17th-century the U.S., the Country Dance & Song Honeysuckle Music accompanied solo song Society (CDSS) is an education and June 13, 2:30 p.m. arts service nonprofit for dancers, mu- Recorders & accessories https://bemf.org/2021-festival sicians, singers, callers and organizers, ... (full schedule including other events) specializing in dances, music and Music for recorders & viols Contact: songs from English and North Ameri- Kathleen Fay can traditions. The CDSS Early Music Jean Allison Olson 1604 Portland Ave. [email protected] Week at Pinewoods is presented each St. Paul, MN 55104 Concert times are EDT. A subscription summer and offers joyful opportuni- 651.644.8545 package and individual tickets are ties and challenges to players, singers [email protected] available. Ticket buyers receive links and dancers of every level, from that allow them to securely watch beginners to the highly experienced. purchased programs as often as We are hoping to be able to have they wish, from the scheduled date camps in person in 2021, when our NEW from the through and including July 11, 2021. early music week will have the theme, Epics and Odysseys, but will monitor ARS online the COVID-19 situation and adjust WORKSHOPs our plans as needed. The health and • Technique tip videos safety of our community are our top from recorder June 13–19 priorities. Check the web site for professionals, https:// Virginia Baroque updates. americanrecorder.org/ Performance Academy https://camp.cdss.org/camp-weeks/ techniquetips Virtual Workshop early-music-week Online Contact: • Videos on the ARS Director: Lynne Mackey Steve Howe, Director, Camp Programs YouTube channel at Recorder faculty: Anne Timberlake 413-203-5467 www.youtube.com/ This intimate online workshop is de- [email protected] americanrecordermag signed to give participants hands-on 116 Pleasant Street, Suite 345 including a 28-minute experience in Baroque technique and Easthampton, MA 01027-2759 video by recorder interpretation, through master classes maker Thomas Prescott and lively, interactive lecture/discus- on recorder care, plus sion sessions with internationally TRAININGS Michael Lynn’s series on acclaimed faculty. At this year’s work- ornaments and Lobke shop, Invitation to the Dance: Baroque SUZUKI METHOD Sprenkeling’s technique Music through the Lens of Dance and TRAINING SESSIONS series Rhythm, areas of study will be geared All online specifically to harpsichord, violin/ Director/Teacher Trainer: • Free beginning recorder viola, viola da gamba, and pre-formed Kathleen Schoen classes (available to duos with singer. Recorder topics are The Suzuki Association of the Amer- anyone at https:// technique, period performance prac- icas, Inc., is the organization officially americanrecorder.org/ tice, solo and ensemble repertoire. licensed by the International Suzuki beginnerclasses); www.svbachfestival.org/baroque Association to support, guide and ”Second Level” classes Contact: promote Suzuki education in North, only for ARS members Lynne Mackey, Central and South America—some Baroque Academy Director 8,000 teachers, parents, educators and https://americanrecorder.org [email protected] others who are dedicated to making

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music and early childhood education available to all children using the Suzuki Method.

June 5, 12, 19 & 26 Introduction to Suzuki Recorder: how Technique Tip: More to teach a beginning recorder player. • play by ear and read music on Breathing plus • produce a beautiful expressive tone • excellent posture and hand position Posture and Hands • ensemble skills • improvise Body and Hand Position Basics • recognize the influence of parents/ caregivers, and learn to harness that influence for student success • basis for independent learning. This material works in both individual lesson and class settings, with beginners as young as three WRITTEN BY years up to adults. Every Child Can! LOBKE This article is the second in a is a prerequisite for this class. SPRENKELING series of articles covering basic https://fluteplayer.ca/teacher- Lobke Sprenkeling technique tips for the recorder. trainer/introduction-to-suzuki- obtained her recorder Bachelor’s and Master’s degrees PART 1: “Use of Air and Breath as a recorder player and theatrical Control: The Respiratory August 12-19 times TBA performer at the Royal Conservatory System” / AR Spring 2021 Suzuki Recorder Unit 3 and of The Hague and Utrecht In the first installment, we The Borealis Suzuki Winds Institute Conservatory, Netherlands, She discussed use of air in Online Workshop (BSI-WOW!)—for continued her studies at the Escola everyday breathing, as well BSI-WOW!, Sylvia Hinz leads impro- Superior de Música de Catalunya, as in producing good musical visation workshops for students and Spain, with a national scholarship tone. Then we used exercises teachers (not specifically geared to from the Dutch Prince Bernhard that did not require a recorder, Suzuki Method techniques). Culture Fund. In 2016 she earned in order to develop solid https://suzuki-flute-recorder.ca/ her music Ph.D. cum laude at the breathing support and become institute/bswi-teacher-programs Universidad Politècnica de València. aware of how the body feels (for teachers) She also studied multidisciplinary when we use correct breathing https://suzuki-flute-recorder.ca/ theater from a musical perspective techniques. institute/bswi-student-programs (Carlos III University, Madrid, and the (for students) Yale University Summer Program); her In this article, we continue specific interest in the relationship those breathing exercises to August 20-22 times TBA between musician and body has led incorporate use of the recorder. Teaching Strategies for Flute & to her performing in and creating Then we look at posture, Recorder multidisciplinary works. She taught and briefly at embouchure. https://suzuki-flute-recorder.ca/ recorder at the pre-conservatory institute/bswi-teacher-programs program (ages 8-18) of Conservatorio Finally, we examine hand Profesional of Valencia (2007-16), position and efficient use Contact: and has taught in Europe, the U.S. of your fingers when playing Kathleen Schoen, Teacher of Modern and Mexico. She currently teaches the recorder. & Historical Flutes & Recorders recorder at the Real Conservatorio 780-887-1421 Superior de Música de Madrid. Info: [email protected] https://.lobke.world.

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efore we take up the recorder 1 for breathing exercises, it would be helpful to review the Bsuggested activities in the previous issue (AR Spring 2021). We’ll do one more exercise that does not involve actually playing a recorder.

An exercise for opening up • Step 1: Exhale through the mouth, producing a fffffff sound until you have reached the end of your breath (at this point, there is still at least 1 liter, or about 61 cubic inches, of air in your lungs). Immediately open your mouth in the form of “oh” or “ah”, whichever is better for you to use to fully open your windpipe. The diaphragm will quickly return from its position of tension to a more relaxed position, pulling the lungs along so that the lungs automatically open and air flows in naturally—without you having to do anything. This is the neutral position of the diaphragm where 2 3 there is no tension. • Step 2: Now we will add another activity to Step 1 that will help us develop correct and useful breath support for the recorder. After all, we have to inhale a lot of air in a short amount of time in order to be able to play an entire musical phrase. Exhale with ffffffff, and open your mouth as before with “oh” or “ah” to let the diaphragm return to its neutral position. This time, however, go further: help this natural breathing process along by breathing in a little ▲ more, thus lowering the diaphragm 1: Hands showing diaphragm position at full exhalation. even more. This is called abdomi- The diaphragm is under full tension.. nal breathing. In other words, we continue the downward direction 2: Diaphragm in neutral phase. of the expanding lungs by using the After simply opening the airways. abdominal muscles. In the photos at right, I demonstrate 3: Diaphragm after further inhalation. the approximate position of the dia- Abdominal breathing. phragm with my hands in the different phases of this exercise.

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ARS is pleased to offer Now practice with a recorder We hold the recorder with the right Frances Blaker’s book hand—and also balance it using the containing her articles lower lip, the right thumb, and op- taken from 20 years tionally the right hand little finger of American Recorder, at the ridge between holes 6 and 7. In this exercise, the left hand is on available on the the stomach or waist so that we can ARS web site at feel our breathing. https://americanrecorder. When the recorder is resting on org/openingmeasures the lower lip, we first exhale all of the air—not yet into the recorder, but above it. We then immediately open the mouth in the form of an “oh” or “ah.” Instead of blowing out as before, we now blow into the recorder (see photo on page 31). This allows us to perform the breathing exercises as before, but now to combine them with playing the recorder. The next step is to play a long tone with both hands on the recorder, while continuing to focus on dia- phragmatic breathing and the feeling that it produces. The goal is that, when playing a musical piece on the recorder, we maintain this awareness of our breath support, so that the note is stable and centered without any breathing problems. The basic tone on the recorder should be smooth, like a lake without any waves. Vibrato is an ornament in early music, and having a continuous vibrato would be like playing with a continuous trill. In addition, a continuous vibrato can be uncontrolled, with no abdominal support and with some tension in the throat. When we use vibrato, we do so in a very controlled way in two possible forms: air vibrato and finger vibrato. Links of interest: • Air vibrato consists of a wave movement when blowing into the • Recorder: www.webaddress.com recorder: less, more, less, more. • Recorder: www.webaddress.com This can go from slow to fast and • Recorder: www.webaddress.com back again, but it must be very • Recorder: www.webaddress.com regular. Try it first on ffffff without the recorder, and feel and hear how it works: ffffFFFFffffFFFFffff. Then try it on the recorder, starting

30 AMERICAN RECORDER SUMMER 2021 HTTPS://AMERICANRECORDER.ORG Technique Tip: More on Breathing, plus Posture and Hands LEARN

with a slow wave motion, until the Bec, et du Haut-bois (Principles of range of dynamics; soon the pitch abdominal muscles understand how the flute, recorder, and oboe) by the becomes either too high or too low if it works and can make a faster wave French composer and instrument you try to add dynamics. Imagine two motion without causing tension in maker Jacques Hotteterre. (Michael horizontal lines, one above the other. the throat. Lynn wrote about producing flatte- In the middle between them, there is • Finger vibrato, or flattement, con- ment in LEARN, AR Spring 2021.) a small circle: this is the center of the sists of moving a finger along the tone. Between the two lines, the note edge of the finger hole or creating Find the center of each note is perfectly in tune—but against the a shadow over the hole with the Each note on the recorder has its own top line, it sounds a bit aggressive, finger. The slight covering of the center where it resonates most. To me forced; whereas against the bottom finger hole lowers the note’s pitch: it’s as if the sound is singing around line, it sounds apathetic and weak. the average pitch is between what is my head. This center has to be found Some notes on the recorder have produced by the uncovered and par- for every note, which is why I strongly more room for variation than others tially covered hole. As a compromise recommend playing long tones every have. As you blow long tones, you will we have to blow a little more. This day at the beginning of your practice. discover the subtle differences among almost results in a small crescendo, The best method is a very slow scale each one of them. then a decrescendo as you return. of long tones. However, if you don’t Flattement is mainly used in have time, consider choosing at least Slow/fast—broad/thin French Baroque music. It is de- a few low, medium and high notes. For the low notes on the recorder, scribed in the 1707 treatise Principes The recorder, like many early music the air has to move more slowly, de la Flûte Traversiere, de la Flûte a instruments, doesn’t produce a wide while for the high notes it has to be faster. This doesn’t mean we’re actually blowing “harder” or “softer,” but rather we change the speed at which the air itself moves. Sometimes I like to compare the air for high notes to an arrow being fired: there is no force behind it, it is not a heavy object, but it flies through the air quickly, lightly and easily. In addition to slow and fast movement of air, there is another param- eter: how broad the airstream is. It doesn’t depend directly on whether the pitch is high or low: for each note, we can use broader or thinner air to give it expression. Thin air can be used to suggest piano, slightly softer dynamics, while broad air gives the sound more warmth and space. Try each of these four options: • Slow, broad airstream • Slow, thin airstream • Fast, broad airstream • Fast, thin airstream How does it feel as you change the shape inside your mouth? Where in your mouth do you feel each combination? Is this the same for all notes, or is there a difference for each one? ▲ Holding the recorder with right hand, and forming “ah” or “oh” to blow. This is a useful exercise to help you

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this is less common. It creates tension Embouchure in the neck as well, since the weight Since we have become more Did you know that your head of the head is now towards the back, aware of breathing, and now weighs about 11 pounds? which isn’t particularly good for the are adding good posture to our cervical vertebrae. practice routine, this could be Make sure that your knees are not the right moment to discuss begin to develop dynamics on the locked but loose. Stand with your the embouchure. recorder, and to adapt the character of feet hip-width apart, with your body The jaw should be loose and in each note to what we want to express. weight evenly distributed between a neutral position—as if you were Playing the recorder has a lot both feet. completely focused on a movie in common with singing: a small and your mouth was open a little. amount of resistance, or the way the Holding the recorder Make sure the jaw doesn’t move air fl ows through the airways, as well Hold the recorder at an angle of about while playing! as how the oral cavity plays a role in 45 degrees to your body. Also make Most of the tongue lies relaxed resonance and sound (although when sure to keep the recorder more or less in the mouth like a large piece playing the recorder, the jaw must re- in front of the body and not to the of meat. It is only the tip of the main in a neutral position). Th ere is a side. A bit to the side is fi ne, but if you tongue that is active. lot of subtlety—and, at the same time, hold it too much to the side, it will The embouchure itself is an organic fl uidity in both instru- be diffi cult to blow straight into the loose, with a slight U-shape ments, which takes time and eff ort to recorder, which hinders a relaxed and (or “kissy mouth” shape), while perfect. Working properly on sound centered embouchure. the cheeks and the space transforms our instrument from Stand (or sit) with the recorder at its between the nose and mouth a school instrument into sublime 45-degree angle—with your shoulders are relaxed. This allows these beauty. It is not without reason that, relaxed, and your elbows hanging spaces to serve as resonance from the Baroque era to the present down but not pressed into your body. chambers. day, the recorder has been called Th ere will be a little space between fl auto dolce (sweet fl ute in Italian). your elbows and your torso. Don’t lift “Ah” / “oh” the elbows, or there will be tension in When you inhale, open your General body alignment your shoulders and arms. mouth (as in the photo below) Now that we’ve worked on breathing, Focus on the space within the circle as if you were saying “ah” or “oh.” let’s look at posture. Make sure your that your arms make when playing When you do this, your inhalation body is aligned to avoid unnecessary the recorder. Notice how much space is soundless and effi cient. tension: head over heart, heart over there actually is around you. Feel how The weight of the recorder pelvis. Th e shoulders are relaxed. much space there is at your back. remains on your lower lip. Did you know that your head weighs Imagine all of the space above you. about 11 pounds? Th is is why it is Even focus on the space under your important to keep your head straight feet, under the fl oor. Feel how the on top of your shoulders—otherwise Earth supports you! the muscles in the neck and shoulders Being aware of all this space helps will have to work hard and tension you form a better connection with will arise. your body while playing. It avoids un- If we try to play with a bent neck, necessary muscle tension and makes the forward weight of the head dis- correct breathing technique easier. rupts the alignment of the spine and When you are nervous—for exam- leads to tension in the neck muscles. ple in a performance—it also helps As the recorder drops, almost parallel you relax. Note: when we are nervous, to the body, the elbows move behind it’s not unusual to raise the shoulders the body, which in turn leads to slightly. Th is is defi nitely something to tension in the shoulders. check and to avoid. Playing with the head tilted back too Try the positions in the fi rst three much also causes problems, although photos on page 33. You will feel for

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1 ⊳ 1: Good posture. Head over heart, heart over pelvis; recorder at an angle of about 45 degrees to your body, shoulders relaxed, elbows hanging down; space within the circle made by your arms.

2: Elbows lifted too high, with head back and chin thrust forward. When the elbows are held up, that extra weight must be carried by the shoulders—this creates tension in your shoulders and arms, as does the head position.

3: Arms clamped to the sides, head forward. Keeping the elbows too close to the body is a position 2 3 that also activates certain muscles, namely those of the upper arms—and the shoulders easily become slightly hunched. In addition, this posture diminishes drastically the feeling of having some physical space—and of course is another source of tension, especially in your shoulders and arms.

4: Practicing right hand support of the recorder, using the right hand little finger. The recorder is balanced and supported by the lower lip, right 4 5 hand thumb and right hand little finger, which is anchored just below the little ridge above the last finger hole.

5: Shifting to a fingering adding fingers of the right hand. The right hand little finger is lifted, since it is no longer needed to support and balance the recorder.

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yourself where tension arises in the fingerings without the left hand—hold Left Thumb Position second and third positions. your left hand in the air, as in the pho- Cover the thumb hole with the area Technically, there are two points tos on page 33. Doing this makes sure near the fingernail. This is probably of support when you hold your that the right hand is carrying all of not going to be in the middle, but recorder—but three points give much the weight, and that the coordination rather a bit on the side. more stability, and they avoid a rigid is perfect—or else the recorder will Make sure that your thumbnail is left thumb. become unstable. clipped so that when you open the • The lower lip. The recorder is lying thumb hole halfway for the high on top of the lower lip, which always Finger position registers, the nail defines the exact carries the weight, even when we Locked finger joints with pressure on separation between the closed and open the mouth to inhale (see photo them (because the fingers are pressing open part of the hole, but doesn’t dig on page 32). down on the recorder) are detrimen- into the wood on the edge of the hole. • The right thumb is placed more or tal. Chronic pressure can wear out To open the finger hole halfway, less between finger holes 4 and 5, the joints, which in turn could lead to just bend the thumb joint, which will and perpendicular to the recorder. arthritis (or cause it to flare up), work like a folding door: it automati- • The right little finger is just below in addition to creating other types cally lowers the fingertip a bit so that the little ridge above the last finger of inflammation like tendonitis. it eventually opens the hole partially. hole (not below the hole). Without The left thumb is most vulnera- You shouldn’t need to move any- a third support point, the recorder ble, with either inflammation of the thing else—not your wrist or elbow. is unstable and there is almost tendon at the base of the thumb joint The thumb movement is a sliding always a tendency of the left thumb or inflammation of a nerve, since the movement, so you should not press to support the weight, which puts nerve channel is very narrow. While the thumb into the recorder. pressure on this thumb and makes in traditional instruments such as the it impossible for it to move freely. tin whistle, the fingers are straight, Right Thumb Position We only use the right little finger when playing the recorder we use The right thumb carries a large for support when no other fingers on rounded fingers, covering the holes amount of the weight of the recorder. the right hand are covering any holes. with the fleshy finger tips. The posi- Especially with large recorders, it’s This means that there will always be tioning of the finger holes and their important to find a position that an alternation between the right little shape are much more suitable for doesn’t produce too much tension in finger and the other right fingers. rounded fingers on a slight diagonal the muscles of the arm. I’ve noticed To practice this method, start by than for straight ones. Straight fingers that when playing a tenor recorder playing 012345 (the note E on so- make the entire hand work; rounded without a thumb rest or when playing prano, A on alto). Then play 0123 fingers generally are much more effi- a voice flute, it’s important to place (soprano G, alto C), placing the little cient and healthy for the hand. the right thumb at the height of finger finger just below the ridge above the Remember that your hand is differ- hole 5 or even a little lower. But again, last finger hole. Alternate fingerings ent from anyone else’s, so your exact each of us has a different hand, so until they are coordinated perfectly. hand position will vary slightly from eventually you’ll have to find the best Now practice the same right hand what is best for another person. position for your thumb. •

1 2 3

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5 6

⊳ 1: Incorrect hand position. Don’t grip the recorder.

2: Another incorrect hand position. If the fingers are lifted straight and too high, this makes the entire hand work. Rounded fingers are much more efficient as well as healthy for the hand.

3: Correct hand position. An oval shape is formed by the thumb and other fingers, and movements are small.

▲ 4: An exercise to play semitones in the right hand. Start with the bottom two fingers completely covering holes 6 and 7.

5: Slide the whole hand rather than the fingers, to produce a semitone and cover only half of holes 6 and 7. Use a slightly twisting and lateral movement of the wrist, something between looking at your watch (twisting movement) and moving the wrist sideways. The fingers are then automatically pulled along. Note that we need to use this type of movement frequently, to play G on the soprano and C on the alto recorder, covering half of the sixth finger hole. # #

6: Correct posture and hand position. Shoulders and arms are relaxed, recorder held at a 45-degree angle. Fingers are rounded and very slightly on the diagonal (especially for the middle fingers) to cover the holes with the fleshy pads.

Links of interest:

• Lobke Sprenkeling’s web site: https://lobke.world • Lobke Sprenkeling’s videos demonstrating this series of • Previous articles in this series on recorder technique: articles: www.youtube.com/americanrecordermag https://americanrecorder.org/american_recorder_ and also the specific video on posture and hand magazine_ex.php position: https://youtu.be/XwSTxGnzGaU

HTTPS://AMERICANRECORDER.ORG AMERICAN RECORDER SUMMER 2021 35 CRITIQUE Music 01 Praeludium and Ciacona in d, Op. 194 Baroque and Baroque-like music, spirituals and by Klaus Miehling several works by Raphael Benjamin Meyer Edition Walhall FEM140, 2017. AATBgBcB. Sc 20 pp, 6 pts 3 pp ea. Abt. $18.50. www.edition-walhall.de/en/ 01 Praeludium and Ciacona by Klaus Miehling woodwind-/37-recorders/miehling- in d, Op. 194 klaus-1963praeludium-ciacona-d- minor-op-194.html 02 Trios for Two: by Adrian Wehlte Intonation Practice Book REVIEWED by: for Two Flutes or Treble Victor Eijkhout Recorders Titles of the form “Prelude and ...” 03 Singet dem Herrn by J. S. Bach, quickly call to mind the extensive ein neues Lied, from BWV225 arranged by Bart Spanhove keyboard œvre of Johann Sebastian Bach. In the Praeludium and Ciacona 4 machen Musik arranged by Ortrud Hommes 04 in d by Klaus Miehling, that is not the Ufa-Filmschlager only connection to “the old Bach.” 05 VI Sonaten für Blockflöte by Andreas Heinrich Schulze (?) The tonal idiom is solidly Baroque, und basso continuo and the harmonies are quite Bach- like. Additionally, the key of D minor 10 Spirituals arranged by 06 is that of Bach’s most famous Toccata Hermann-Josef Wilbert and Fugue (BWV565), as well as of 07 Safari for six wild recorders by Raphael Benjamin Meyer the equally famous violin chaconne (BWV1004). 08 Abire for Recorder Quartet by Raphael Benjamin Meyer Leaving aside such obvious par- allels, this work is a very enjoyable 09 The Swing Thing by Raphael Benjamin Meyer sample of Neo-Baroque writing. The prelude has no clear form, but has as its unifying principle the shape of the scale fragments that form its melodic material. The character of the prelude is largely determined by the fact that these scale fragments are often played, faux-bourdon style, in multiple voices in harmony. As in any piece in a minor key, there is considerable chromaticism going on here. Running at about four minutes, the prelude is of a fairly even character and degree of difficulty. The ciaconna has an eight-note bass pattern as its unifying element, mostly KEY: rec=recorder; S’o=sopranino; S=soprano; A=alto; T=tenor; B=bass; in the contra bass part, but occasion- gB=great bass; cB=contra bass; Tr=treble; qrt=quartet; pf=piano; fwd= ally moving to other parts, over which foreword; opt=optional; perc=percussion; pp=pages; sc=score; pt(s)=part(s); the remaining voices play rhythmic kbd=keyboard; bc=basso continuo; hc=harpsichord; P&H=postage/handling. and melodic variations. To bring variety to this ostinato, the sections

36 AMERICAN RECORDER SUMMER 2021 HTTPS://AMERICANRECORDER.ORG CRITIQUE move among fast scales, syncopated rhythms, and lyrical passages. 02 Trios for Two: Remarkably, towards the end the Intonation Practice Book for The diﬃ culty level of the music composer dials up the intensity by Two Flutes or Treble Recorders is easy, but the goal of perfect applying diminutio to the bass pattern, by Adrian Wehlte tuning and careful listening is shortening the four-bar theme to two more elusive. bars, then one, and fi nally only half a Edition Walhall Floeno EFL1222, 2020. measure. Th is increased intensity also AA. Sc 30 pp. Abt. $19.50. brings with it some decidedly tricky www.edition.fl oeno.de/en Th e author explains that success in passages in all voices. hearing the combi-bass requires that I have a few quibbles with the music REVIEWED By: both instruments be played strictly in typesetting. Th e theme occurrences in Beverly Lomer tune, with appropriate breath pressure the ciaconna are numbered, both in Adrian Wehlte’s Trios for Two is a and no vibrato. the score and the parts, which seems technical study that focuses on into- In the appendix, there are three unnecessary to me, outside of the nation—specifi cally the identifi cation pieces in which the combi-bass is a score. In fact, it is actually confusing of those other tones that appear when popularly known tune. Th e challenge in the high voices, where this gives the two recorders are played together. In to the players is, of course, to identify appearance of random bar numbers. the introduction, the author refers each tune. Th e answers are given on Also some ties between notes are to them as Combination Tones or the following pages. extremely short, making them look combi-bass (see more below). Because Th e diffi culty level of the music is more like marcato accents. As well, they happen, whether liked or even easy, but the goal of perfect tuning too many times a note at the end of a intended by us or not, they should and careful listening is more elusive. system is tied to one at the start of the ideally be integrated into our perfor- For those folks who have excellent next. Diff erent system breaks would mances. And because they are quieter musical perception, this may be easier have made this clearer. Finally, the than the fundamental tone, and thus than for those whose listening skills great bass part is written sounding in not so immediately audible, hearing are not so advanced. Th e approach, the score, but 8va in the part; it also them requires specifi c practice that however, is an interesting one that has incorrect measure numbering. is the topic of the edition. requires concentrated practice, but Overall, this piece is expertly written For those interested in acoustics, which could be quite rewarding in Bach-like Baroque harmonies. Hav- there are fairly detailed explanations when success is achieved. • ing an alto as its highest part (though of the scientifi c and numerical factors regularly hitting high F and G) makes involved in producing additional Beverly R. Lomer, Ph.D., is an the piece more sonorous than it would tones. For those not so inclined or independent scholar and recorder have been with a soprano recorder. familiar with mathematical/musical player whose special interests While the prelude is technically of a relationships, the discussion is not so include performance from original high intermediate level, the ciaconna easy to follow, but it is not essential to notations and early women’s music. will take some practice. • working with the etudes. She is currently collaborating on Th e edition of 14 studies is a mix of the transcription of the Symphonia Victor Eijkhout resides in Austin, TX, exercises and works from the early of Hildegard of Bingen for the where he plays recorder in the early music repertory. Some examples International Society of Hildegard von music ensemble The Austin Trouba- include: the anonymous Pase el agua, Bingen Studies. Previously, she taught dours. The multi-instrumentalist ma Julieta, Dama, Orlando di Lasso’s Women’s and Gender Studies and and composer has two titles in the Matona mia cara, and Johann Her- Music and Gender courses at Florida Members’ Library Editions. His other mann Schein’s Die Nacht ist kommen. Atlantic University. She teaches compositions can be found at Th e format consists of two recorder recorder and plays with several local https://victorfl ute.com or parts and a bass line. Th e recorder/ ensembles. Besides reviewing music http://imslp.org/wiki/ fl ute parts are all homorhythmic with and books for AR, she occasionally Category:Eijkhout,_Victor the melodies written in thirds. On writes features; see her article on and you can support his work the bass staff , there are small notes madrigals in AR Fall 2018 and her through www.patreon.com/FluteCore. that indicate the combination tones extensive article on articulation in that are produced (the combi-bass). AR Fall 2020.

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Psalms. This arrangement includes this makes the music surprisingly 03 Singet dem Herrn the first chorus, which ends with ex- hard to read. Playing through the ein neues Lied, from BWV225 clamations to sing praises with drums parts, I made many more counting by J. S. Bach, arranged by Bart and harps (from Psalm 149:1-3). errors than if normal beaming had Spanhove This beautiful and magnificently been used. For instance, seeing two written motet was likely used for a 16th notes in the middle of a stretch Moeck EM3351, 2018. memorial service in Bach’s time, but of separate eighth notes makes it hard ATBgB ATBgBcB. Sc 16 pp, its opening movement is fairly joyous. to see whether they are on or off the 11 pts 2 pp ea. $32. (Spanhove indicates “Maestoso,” but beat. www.moeck.com/en/publishing/ playing too slow creates problems in Making matters worse, since the sheet-music spots with multi-measure tied notes.) note spacing is dictated by the num- It starts with one choir singing in ber of letters in the corresponding REVIEWED by: quarter notes against the other choir, syllables, erroneous groupings are Victor Eijkhout playing fast 16th-note runs. These occasionally suggested by the irregu- Renaissance and Baroque vocal music roles are quickly reversed, and the larities of spacing. is a fruitful source of new repertoire choirs start alternating passages or This engraving decision aside, the that can be arranged for recorders. engaging in echo effects; there is even music is very clearly typeset. As a Vocal music for SATB choir is often a fugue on one of the phrases. means for ambitious recorder ensem- close to the range of SATB recorders, As is common with Bach, the tex- bles to have access to a great vocal making it playable directly or with ture is fairly dense—to bring out all composition of Bach, this is then an minor adjustments. of the details in this piece will take a important edition. • For larger recorder ensembles, dou- good amount of work. However, this ble-choir pieces are a good way to add is a superior composition, so the work interest and cut down on excessive invested in it will pay off. doubling of parts. J.S. Bach’s motets All parts are comfortably playable 04 4 machen Musik are thus a good source for recorder at an intermediate to high interme- Ufa-Filmschlager players to have access to the music of diate level, with all but the bass part arranged by Ortrud Hommes Bach, with less effort than, for in- staying away from the outer notes of a stance, arranging his keyboard fugues. two-octave range. On the other hand, Heinrichshofen/Noetzel N2862, 2017. Bart Spanhove, formerly of the the contra bass hits both the lowest SATB. Sc 34 pp, 4 pts 14-15 pp ea. famous Flanders Quartet, has adapted and highest C of its range. Abt $22. the first section of the motet Singet Normally I would now sing the www.heinrichshofen.de/de/ dem Herrn ein neues Lied (Sing unto praises of Moeck edition layout and sonstige/1346/4-machen-musik- the lord a new song), BWV225, for a engraving—if it weren’t for what I einzelstimme-s-bfl double quartet of two choirs of alto, consider an unfortunate musical tenor, bass and great bass, plus a C decision to follow a vocal practice REVIEWED by: contra bass covering the continuo. in the typesetting. The parts include Victor Eijkhout Replacing SATB by ATBgB definitely the words (in German), which is A collection of German film music improves the sonority; however, it useful for determining the phrasing. from the 1930s and ’40s does not meant having to transpose the origi- However, it was decided to reflect the sound like an immediate slam dunk nal from Bb down to F, so performing actual syllables of the text in the note for recorder players in the U.S. None with voices is no longer possible. beaming. Thus, in case of melismas, of the seven films from which this Since the continuo is mostly a where a single syllable is stretched music is taken was even known by compound of the two bass voices, that over multiple notes, normal beaming name to this reviewer. However, after contra line can actually be dispensed is used; in cases where there is one playing this music, the appeal is im- with, making this piece accessible to syllable per note, the beaming is bro- mediately clear. ensembles that lack the somewhat ken to indicate the separate syllables. The arranger Ortrud Hommes has exotic C contra bass. My problems with this typesetting taken music that (I imagine) was The original composition was first practice are two-fold. For one, I am written for a salon orchestra (upright performed in Leipzig, probably in not convinced that this adds to the bass, strings, maybe a saxophone or 1727. Most of the text was taken from accuracy of phrasing. More seriously, two, light drumming) and masterfully

38 AMERICAN RECORDER SUMMER 2021 HTTPS://AMERICANRECORDER.ORG Music CRITIQUE arranged it for SATB recorder quartet. pieces are each 2-3 minutes long. public performance. House music, All of the pieces have a bass part (Since the pieces tend to be somewhat intended to be enjoyed by an intimate that is clearly a straight transfer from similar in character, one certainly circle of family and friends, had a le- an upright bass part, giving the pieces should not play the whole book in gitimate place in the repertoire in that a gentle lilt. The soprano part plays full in performance.) pre-recording world. In the time of the melody in an easy range, never If you ever had ambitions of playing COVID-enforced isolation or distanc- going beyond high G. The middle a tea dance with your recorder ensem- ing, a musically talented family could voices play either counter-rhythms to ble, this is the book for you. • certainly do worse than to entertain the bass (beats two and four in a 4/4 itself with these pleasant pieces. pieces, two and three in the waltzes), Each composition employs the or they play in the same rhythm as Baroque era’s traditional slow-fast- the soprano, making a block chord 05 VI Sonaten für Blockflöte slow-fast arrangement of movements. melody. Think of a saxophone section und basso continuo I would rate the difficulty level as “al- in a big band. by Andreas Heinrich Schulze (?) most advanced”—with the exception As is expected for songs, there is of the second movement of Sonata a clear melody that is repeated. The Edition Baroque, 2016. Volume I, VI, which qualifies as fully advanced, arranger injects variety by regularly Sonatas I-III, eba1131; sc 23 pp, 2 pts reminding us of pieces by Antonio moving the melody between soprano 7 & 10 pp ea. Volume II, Sonatas IV-VI, Vivaldi for sopranino—32nd notes and tenor. The harmonic repertoire eba1132; sc 26 pp, 2 pts 9 & 12 pp ea. at un poco presto, anyone? goes considerably beyond what per- $20 ea. The continuo for the whole edition, formers of early music are used to, www.edition-baroque-shop.de realized by Jorg Jacobi, is fairly chal- using the diminished, augmented and lenging. It is about the same difficulty major-seventh chords that come with REVIEWED by: level as the solo alto part, the right the Romantic idiom and later. The Anne Fjestad Peterson hand often imitating the recorder. effect is never unpleasant—and, in When is house music not house The quality of the movements them- fact, is largely elegant and sonorous. music? When played outside of the selves varies, as our reading notes All parts are playable by low inter- house, of course—then it’s a little express, ranging from “pleasant,” “silly mediate players. A strong bass instru- porch music. but fun,” and “charming,” to “repeti- ment is advisable since the bass part Martin Wachter and I read through tive” and even one “boring.” Our fa- carries the rhythm, and low notes are these six sonatas on the front porch vorite movement is the second allegro often played without any lead-in. in June 2020, appropriately socially of Sonata IV, which we pronounced The main difficulty in these pieces distant, using his electric keyboard on “lively, charming, performable.” lies in the syncopations that appear the harpsichord setting as the con- We hope by the time this review is mostly in the middle voices. However, tinuo instrument to spare my deli- printed the virus will have abated— the syncopated rhythms are repeated cate spinet from the elements. These but if not, get the family together, or enough that, with a little rehearsal, were not ideal conditions—but the invite friends over to sit six feet apart most low intermediate players should neighbors, as well as we, enjoyed our on the porch or patio as weather do them justice. The relative closeness efforts. improves, and enjoy this obscure of the voicing does mean that the Little is known about A.H. Schulze. composer’s charming efforts. • tenor recorder hits the high A in a As far as I could determine, no music couple of places and that the soprano of his is extant other than this set of Anne Fjestad Peterson has a melody is sometimes fairly low. sonatas, and even his authorship of Bachelor of Arts in music education The music is excellently laid out, these works has not been definitively from Concordia College, Moorhead, requiring no page turns in the parts. proven, hence the question mark. MN, and a Master of Music in Most pieces are without repeats. A man named Andreas Heinrich music history from the University of Somewhat strangely, the words to the Schulze who was an organist was born Colorado. She has taught private songs are printed in the parts, but not in Braunschweig, Germany, in 1681 and class recorder in Boulder, CO, in the score. and died in 1742. since 1974 and has performed since In all, this is delightful music, to The key to appreciating these 1980 with the Boulder Renaissance be used for group playing, or as an sonatas is to recognize that in earlier Consort, for which she arranges encore for a performing quartet. The times, not all music was written for music.

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longer notes in the lower parts. of music. • 06 10 Spirituals In Nobody Knows, all the parts play arranged by Hermann-Josef Wilbert the same rhythms for most of the Bruce Calvin has reviewed videos piece. Steal Away uses the most com- and books for professional library Edition Walhall FEB058, 2017. SSATB. plex rhythmic patterns—such as dou- publications over the years. He is a 3 scs 22 pp ea. Abt. $25. ble-dotted quarter notes followed by a spiritual director for people of diverse www.edition-walhall.de/en 16th note, or dotted eighth note rests faiths; visit http://knowthatiam. followed by a 16th note—to recreate blogspot.com. Having started playing REVIEWED by: the familiar rhythms of the spiritual. recorder in college, he and four Bruce Calvin They Crucified My Lord, which is others have met weekly for some This set of spirituals for recorder not the more familiar Were You There years in the Washington, D.C., area. quintet is distinctive because many When They Crucified My Lord, has the They enjoy Renaissance through con of the arrangements do not use most interesting and distinctive ar- temporary music, playing occasionally traditional harmonies with which rangement of the set. The tune begins for special church events. Americans are familiar. It would be a in the bass line for the first verse, then particularly useful set for groups who the tenor plays the tune for the sec- play in church, once we are all back to ond verse, and so on until the top line meeting and playing in our churches. finishes the piece with the fifth verse. 07 Safari for six wild recorders They could also be used effectively in In the interesting harmonies of by Raphael Benjamin Meyer other settings. We are Climbing Jacob’s Ladder, the The collection includes I Got a lowest two lines provide an effec- Heinrichshofen/Noetzel N2859, 2017. Robe; Joshua Fit the Battle of Jericho; tive counter rhythm to the melody, SSAATB. Sc 12 pp 6 pts 4 pp ea. Little David, Play on Your Harp; Lord, energizing the simple tune. The bass Abt. $20. I Want to be a Christian; My Lord, part has two divisi eighth notes in the www.edition-peters.com/product/ What a Morning; Nobody Knows; Steal penultimate measure. When Israel safari/n2859 Away to Jesus; They Crucified My Lord; Went in Egyptland utilizes the most We are Climbing Jacob’s Ladder; and traditional harmony of any in the REVIEWED by: When Israel Went in Egyptland. collection, with interesting counter Victor Eijkhout Hermann-Josef Wilbert (born 1933) rhythms in the lowest three parts. Recorder ensembles have long sought received a doctorate in 1968 in Mainz, Each piece has word underlay for to incorporate lighter music and and was a professor of musicology in the first, or first and second, lines, exotic sounds in their programs to Saarbrücken, Cologne and Frankfurt, which would allow a singer to replace achieve some variety. One particu- Germany, until retiring in 1998. or join in with the instruments. lar type of exotic sound is African The simple, if rhythmically chal- This music would be appropriate music—which, with generally simpler lenging, I Got a Robe puts the tune for intermediate and higher level harmonies and more emphasis on in the top line. The four lower parts players with some qualifications. rhythm, is particularly appealing. either match the rhythms of the tune, All of the alto lines need to be For a composer, there is then a di- or have counter rhythms or sustained read up an octave. lemma: whether to go for generalized notes. In Joshua Fit the Battle of Jeri- The eighth notes have very long impressions, or to do justice to the cho, set in 12/8, the top two lines are tails, and are crowded close to each fact that Africa is a large continent, in canon. Lord I Want to be a Chris- other, making it hard to easily read with many differing cultures. The tian has a simple traditional harmoni- the music. Also, groups of eighth composer Sören Sieg has been pop- zation; the second line goes down to notes are not beamed, so in a measure ular in recent years with his African a low B, so it would need to be played of eight separate eighth notes, it is suites that are based on specific songs on alto up rather than soprano. much harder to read. and styles absorbed while he has lived In Little David, which is not familiar The music comes with three sets of there. to anyone in our group, the top four scores, so two different parts will need On the other hand, Raphael Ben- lines play homorhythmic chords, to share a single music stand. The jamin Meyer’s Safari, which we are while the bass line plays independent, edition includes a loose sheet for each considering here, makes no such descending lines. My Lord What a score, to provide a movable page for claims. Starting with the subtitle “for Morning has a simple harmony, with the two pieces requiring three pages six wild recorders,” and continuing

40 AMERICAN RECORDER SUMMER 2021 HTTPS://AMERICANRECORDER.ORG Music CRITIQUE with movement titles such as “A lion strolling at noon,” it is clear that this suite aims to please, and not to engage The graduation aspect of Abire in ethnomusicology. also shows up, in that it is a great And please this music does. Th e piece for a recorder quartet to movements all marvelously live up show its mastery of intermediate to their titles, from the quiet “Flock level ensemble skills. of birds at the watering hole” to the skittering “Gazelles fl eeing” and the REVIEWED By: deliberate “March of the elephant Victor Eijkhout herd.” To achieve the various eff ects, Th e Latin verb abire literally means the players are asked to play some “to go from” or “depart.” It is also the tricky syncopations and fast runs. root of Abitur, the German word for Some special eff ects are also needed. graduation—a ceremony oft en occur- Notably, the piece opens with the ring at this time of year, and which top voices imitating a kalimba (also we hope we may be able to attend in known as mbira or “thumb piano”). person soon. Th is is a wonderful eff ect that I had Raphael Ben jamin Meyer’s Abire not encountered before. Th e “Flock was commissioned by an ensemble of of birds” movement starts with the recorder students, and performed at instruction for the fi rst soprano to a graduation party. So the title has an “take the recorder apart” aft er which obvious literal meaning. the head piece is used for making Musically, there is also some de- bird call noises. parting that happens in this piece: Safari is written for the somewhat the players start out on four altos, uncommon combination of SSAATB. playing an ostinato fi gure in unison. Th is should make it perfect for larger Pretty soon, however, players invert recorder groups (such as ARS chap- this fi gure or add chord notes, making ters) if they do not own instruments this sound like a piece of minimal- larger than a bass. Another aspect that ist music. Th en three of the players makes it attractive for such groups switch instruments, winding up with is that there is a clear diff erence in an SATB quartet. degree of diffi culty between the fi rst Th e graduation aspect of Abire also and second soprano and the alto, thus shows up, in that it is a great piece for accommodating diff erent skill levels. a recorder quartet to show its mastery With a running time of seven min- of intermediate level ensemble skills. utes, and a direction for the players Since the idiom is more rhythmical to “walk off the stage” while repeating than melodic, precise attention to the last four measures, this should timing and phrasing is crucial. In that also make a great performance piece. sense, Abire is deceptively simple: the individual notes are not hard for the most part, but the work is in playing together. 08 Abire for Recorder Quartet As regards the individual notes, by Raphael Benjamin Meyer most of this piece is easy enough to play. But, to stick with Latin phrases, Heinrichshofen/Noetzel N2851, 2016. in cauda venenum: the sting is in the AAAA/SATB. Sc 10 pp, 2 pts 5 pp ea. tail. Th e fi nal part of Abire has some Abt. $11.25. runs that require quick alternation of www.heinrichshofen.de/de/ the notes F and Eb in unison among sonstige/1338/abire parts. While this is manageable on

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the F instruments, the half-holing of As might be expected from the title, 09 The Swing Thing Eb on the C instruments requires very this single movement composition good technique, or sneaky alternative by Raphael Benjamin Meyer uses “swung eighths” most of the fingerings. time, and also utilizes “blue” notes The typesetting is clear, with only Heinrichshofen N2890, 2017. and other swing idioms. However, the two problems. First, the instrument 5-7 recs SATTB+gB&cB. Sc 16 pp, harmonies and chord structure are changes are indicated at the end of 7 pts 2-3 pp ea. Abt. $19.50. far from simple, which lifts this piece the multi-measure rests, rather than, www.edition-peters.com/category/ above other attempts at swing music more logically, at the beginning to henrichshofen-and-noetzel for recorders. prepare for the change. Second, the Technically, it is also not simple: printed parts, for no clear reason, REVIEWED by: there is a lot of chromaticism and the combine parts 1/2 and 3/4, making Victor Eijkhout use of 16th notes in the triplets may two page turns necessary. Photocopy- Raphael Benjamin Meyer is a rela- take some figuring out. The most ing would make this a five-pager, tively young composer with a training interesting challenge is the use of the which does not fit a single music in recorder performance and music 13/16 time signature towards the end. stand. Having four separate parts education. This makes his composi- This is counted 3+3+3+2+2, where would probably have eliminated tions fairly idiomatic for the instru- some of the voices play groups of this problem. ment and generally rewarding to play. three 16ths, while others simultane- In all, this is an attractive piece The Swing Thing is written for five ously play dotted eighths. using a moderately modern, but still recorders, SATTB, and optionally I found this to be a very appealing tonal, idiom. The difficulty level is great and contra bass. These lower composition, fun for listening and intermediate, if played slightly slower instruments sometimes double the playing, certainly at a high intermedi- than indicated, to high intermediate tenor and bass parts at the octave, ate degree of difficulty. • at the intended tempo, with a couple but regularly they also add some new of challenging passages. • musical material to the texture.

42 AMERICAN RECORDER SUMMER 2021 HTTPS://AMERICANRECORDER.ORG CRITIQUE Recording

Compelling COVID-19 repertory and uplifting Baroque music from France and Germany

01 01 Le Plaintif: Le Plaintif Dutch recorder player Erik Bosgraaf plays great music from the great century. Le Plaintif’s subtitle, Doleful Music of the French Grand Siècle, is mean- Telemann. Mields Temmingh: 02 ingful—yet the English word “dole- South African recorderist Stefan Temmingh continues ful” doesn’t quite seem to convey a series of collaborations with soprano Dorothee Mields. the experience of rich poignancy 03 Duo1702+ Coffee Edition: and comfort these pieces and this Danish recorder player Louise Hjorth and organist Katrine J. recording provide. The Grand Siècle Kristiansen are joined by their friends for Baroque chamber music. (literally, great century) refers to the reigns of French Kings Louis XIII and Louis XIV (1610-43 and 1643-1715, the latter the longest recorded reign of any European monarch). Composers chosen for this recording are among the highest regarded from that period: Marin Marais, Jean-Henry D’Angle- bert, Jacques Hotteterre, Louis- Antoine Dornel, Michel Pignolet de REVIEWED BY TOM BICKLEY Montéclair, François Campion and American Recorder Recording Reviews Editor Tom Bickley Pierre Danican Philidor. is a recorder player/composer/teacher in Berkeley, CA. The 24 tracks encompass 21 pieces. He grew up in Houston, TX; studied in Washington, D.C. The sequence of works is arranged (recorder with Scott Reiss, musicology with Ruth Steiner, such that listening to the whole seems and listening/composition with Pauline Oliveros); and came to California as though one is hearing a single as a composer-in-residence at Mills College. extended suite. A frequent workshop faculty member and leader at chapter meetings, The booklet provides great detail on he teaches recorder at the Bay Area Center for Waldorf Teacher Training; the instruments used on each track. Deep Listening for Rensselaer Polytechnic Institute; and is on the faculty as Dutch recorderist Erik Bosgraaf plays Performing Arts Librarian at California State University East Bay. He performs recorders made by Ernst and Sebas- with Three Trapped Tigers (with recorder player David Barnett), Gusty Winds tian Meyer, after originals by Bres- May Exist (with shakuhachi player Nancy Beckman) and directs the Cornelius san, except for a Küng bass recorder Cardew Choir. (revoiced and modified by Ernst His work can be heard at https://soundcloud.com/tom-bickley, and is Meyer) on track 10 (Plainte in available on CD on Koberecs, Quarterstick and Metatron Press. Visit his d minor by Montéclair). web site at https://tigergarage.org. The realizations of the continuo parts bring in a nuanced timbral variety, providing fresh appeal in each work. This follows the excellent approach of the ensemble Cordevento in their earlier recordings.

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www.brilliantclassics.com/articles/l/ weaving of the timbres of recorder le-plaintif (booklet available for free and voice with the solid underpinning “Let us enter, then, into the download); Available via of the continuo lines. twilight of the music room, and www.arkivmusic.com/products/le- Th e recorder works on this record- peer into the soul of an era as plaintif-cordevento-397611 ing are: luminous and shimmering as it (CD $11.99+S&H); www.hbdirect. • tracks 1-4, Sonatina in a minor, is shrouded in subtle shadows. com/album_detail.php?pid=4115649 TWV41:a4 Let us listen to its wordless (CD $12.34+S&H); https://smile. • tracks 8-11, Trio sonata in d minor, weeping.” amazon.com/Plaintif-Cordevento/ TWV42:d7 dp/B08HRT9V6T (CD $12.99+S&H; • tracks 15-17, Trio sonata in F major, mp3 $6.99); iTunes (mp3 $6.99); TWV42:F3 In addition to the instrumentarium streamable via Apple Music, Spotify, • tracks 21-24, Trio sonata in g minor details, the booklet includes a sub- Qobuz, YouTube, etc. TWV42:g9. stantive essay by Roberto Romagnino Erik Bosgraaf, www.erikbosgraaf.com Th ese selections not only complement on the concept of plainte (a slow, Interview with Erik Bosgraaf earlier in the cantatas on this disc, but also off er expressive lament that is not neces- this issue a survey of the Telemann recorder sarily associated with death). Th ough sonatas. recorded in early May 2019, months Temmingh brings a spirited playful- before the fi rst COVID-19 diagnosis, ness to these pieces, evident in the tender aff ect of this repertory is his articulations—for instance, in such that this could be the soundtrack the Presto movement of Sonatina in for the year 2020. In fact, even as a minor (track 4). For a complete re- there are signs of our planet emerging cording, I recommend Erik Bosgraaf’s from the direst days of the COVID-19 2015 recording with harpsichordist pandemic, all three of the Baroque Francesco Corti (Brilliant Classics recordings reviewed here relate to this 95247, reviewed in AR Spring 2016). global event, off ering elegant perfor- Bosgraaf and Corti are set to perform mance of compelling repertory. 02 Telemann. a recital of the pieces from this Tele- Th e ensemble sound works well on Mields Temmingh mann recording for the virtual 2021 this recording, with a satisfying stereo Boston Early Music Festival image, placing the instruments as South African recorder player Stefan on June 10. one might hear them from the front Temmingh, his frequent collabora- Th e cantatas appeal to many of us row. Th e CD quality audio yields the tor soprano Dorothee Mields, and for the signifi cant role of the recorder. greatest listening pleasure, but any of colleagues (whose work we’ve enjoyed I hear these works as conversations the options are worth utilizing. on past releases) assemble an engag- between soprano (conveying the Romagnino expresses it well: ing group of four sonatas for recorder text) and recorder (as a companion “Let us enter, then, into the twilight and continuo, and three cantatas for to the vocal line), with their dialog of the music room, and peer into soprano, recorder and continuo. supported by the foundation of the the soul of an era as luminous and G.P. Telemann’s prodigious output continuo. Over half of Telemann’s shimmering as it is shrouded in subtle might tempt some to assume that his works are cantatas. His care in the shadows. Let us listen to its wordless work is of lower quality than that of vocal lines ensures clarity of text weeping.” • his contemporaries. Th e music on this for the listener, and the exchange of disc (as well as the numerous Tele- motives between recorder and singer fOR MORE INfORMATION: mann recordings released in the last reinforces this. Le Plaintif: Doleful Music of the fi ve years alone) off ers ready dismissal Th e texts of all three cantatas here French Grand Siècle. Cordevento of that concern. In this collection of are concerned with humankind’s (Erik Bosgraaf, recorder; Izhar Elias, Telemann’s work we hear winning dire circumstance, but conclude with Baroque guitar; Israel Golani, theorbo; harmonies and melodic lines, skillful bright optimism deeply steeped in the Alessandro Pianu, harpsichord; employment of his beloved recorder Protestant Christianity of Telemann’s Robert Smith, dessus de viole). 2020, (an instrument he knew from a time. Th e recorder lines join in the 1 CD, 67:00. Brilliant Classics 95694. player’s perspective), and an attractive uplift ing aff ect of these arias.

44 AMERICAN RECORDER SUMMER 2021 HTTPS://AMERICANRECORDER.ORG Recording CRITIQUE

Th e sound of this disc is more including the recording reviewed intimate than some, still presenting a here. Duo1702 is clearly adept at these satisfying image of the ensemble, with These selections not only separate repertories, choosing pieces the recorder mostly in the left chan- complement the cantatas on and renditions that locate points in nel. Th e booklet provides information this disc, but also oﬀ er a survey common between old and new. on the instruments, though not which of the Telemann recorder In the Coff ee Edition, we’re treated to specifi c one is played on which track. sonatas. wonderful performances by all of the Th e recorders all are from the Meyer musicians involved. All of the music workshop. A very clever feature of the on this disc is chosen from 17th- and booklet is “An Interview with Tele- 18th-century composers: J.S. Bach, mann” devised by Domen Marinčič Gottfried Finger, G.P. Telemann, (viol player on this recording), in Morten Ræhs, Henry Purcell and which excerpts from Telemann’s Antonio Vivaldi. letters, prefaces and autobiographies Th e recording opens with soprano form the responses. Else Torp singing the aria, “Ei! Wie Made in February 2020, these schmeckt der Coff ee süße” (Ah! How recordings sound best at the highest sweet coff ee tastes), accompanied by quality (CD or FLAC). Th e beauty of recorder and organ. Including that this music and its rendition before the pleasant opening, the 22 tracks total lockdown reminds us of how much 03 Duo1702+ Coff ee Edition embrace seven compositions and we’ve missed live music—and, I hope, provide a lovely gathering of chamber brings a sense of gratitude for the From Denmark, the recorder and works suitable for the social occasion recordings available. • organ ensemble Duo1702 joins forces that is imagined by Duo1702. with fi ve guest musicians to present I would love to know more about fOR MORE INfORMATION: a disc that’s imaginable as music that the instruments used (especially Telemann: Cantatas for soprano & friends might enjoy playing together recorders and organ), as well as about recorder and instrumental works. over coff ee. Made in July 2020, this re- the ensemble itself. Th e CD may be Stefan Temmingh, recorder; Dorothee cording by Louise Hjorth and Katrine diffi cult to acquire in the U.S., but the Mields, soprano; Daniel Rosin, J. Kristiansen is explicitly identifi ed as sound in the streaming services is Baroque cello; Domen Marinčič, a response to the diffi culties of the re- good. I recommend listening to this treble and bass viol; Wiebke strictions during the global pandemic. and other Duo1702 recordings. • Weidanz, harpsichord. 2020, Th e result is a delightful ray of hope. 1 CD, 59:00. Accent ACC 24371. Th is is the fi rst recording I’ve fOR MORE INfORMATION: http://stefantemmingh.com/ encountered by either Louise Hjorth Duo1702+ Coﬀ ee Edition (Louise sites_english/news_english.htm or Duo1702, and I look forward to Hjorth, recorder; Katrine J. Kristiansen, Available via https://naxosdirect. more. Hjorth’s web site declares her organ; with Justin Bland, Baroque com/items/telemann-cantatas-for- to be an “Eksperimenterende klassisk trumpet; Jane Gower, Baroque soprano-recorder-and-instrumental- blokfl øjtenist” (experimental classical bassoon; Tinne Albrectsen, Baroque works-545727 (CD $17.09, free recorder player). She plays in a variety violin; Else Torp, soprano; Kristin shipping in U.S.); www.prestomusic. of ensembles, several of which em- Mulders, mezzo-soprano). 2020, 1 CD, com/classical/products/8829042- brace both early and new music. 58:56. Gateway Music DUO170201. -telemann-cantatas-for-soprano- Her 2014 release, A Short Story, https://gatewaymusicshop. recorder-basso-continuo includes newly composed works as dk/index.php?route=product/ (CD $15.25+S&H; FLAC $12, mp3 $10, well as Baroque pieces. Her 2020 product&product_id=1591 downloads include booklet); iTunes release, In the Name of Fuzzy, is a (CD abt. $18); iTunes mp3 download, (mp3 $9.99); streamable via Apple collaboration with electronic musi- $10.99; streamable via Apple Music, Spotify, Qobuz, etc. cian Fuzzy, realizing compositions by Music, Spotify, Tidal, etc. Interview with Stefan Temmingh, Jens Wilhelm Pederson. Louise Hjorth, http://louisehjorth.dk AR Fall 2019 Organist Katrine Kristiansen works Boston Early Music Festival, with her on all of these albums, https://bemf.org/2021-festival

HTTPS://AMERICANRECORDER.ORG AMERICAN RECORDER SUMMER 2021 45 ARS Chapters & Recorder Orchestras

RO = Recorder Orchestra Sonoma County HAWAII Metropolitan Detroit RS = Recorder Society Nancy Kesselring Big Island Molly Sieg [email protected] Garrett Webb [email protected] [email protected] Northwinds RS ALABAMA South Bay Ani Mahler Honolulu Cynthia Donahey Birmingham [email protected] Irene Sakimoto [email protected] Janice Williams [email protected] Western Michigan [email protected] West Hawaii Jocelyn Shaw COLORADO Marilyn Bernhardt [email protected] Boulder ARIZONA [email protected] Trudy Wayne Desert Pipes (Phoenix) [email protected] MINNESOTA Karen Grover IDAHO Twin Cities [email protected] Colorado RO Rose Marie Terada Les Bois – Boise Garth Riegel Tucson contact@ Kim Wardwell [email protected] Scott Mason ColoradoRecorderOrchestra.org [email protected] [email protected] Denver MISSOURI Sharon Bolles ILLINOIS St. Louis ARKANSAS [email protected] Chicago Carl Serbell Little Rock Fort Collins Larry Johnson [email protected] Carol Woolly Pattie Cowell [email protected] Heartland RO (Warrensburg) [email protected] [email protected] Chicago-West Suburban Patrick Larkin Marguerite Re [email protected] CALIFORNIA Connecticut [email protected] Barbary Coast RO Connecticut NEVADA Frances Feldon John Vandermeulen INDIANA Las Vegas [email protected] [email protected] RO of the Midwest Buddy Collier Central Coast RS Eastern Connecticut Marilyn Perlmutter [email protected] Karen Bergen Betty Monahan [email protected] Sierra Early Music Society [email protected] [email protected] (Sparks) East Bay RS Maureen Groach Susan Murphy Jaffe LOUISIANA DISTRICT OF COLUMBIA [email protected] [email protected] New Orleans Washington New Hampshire/Vermont Inland Riverside RS Victoria Blanchard Daniel Bruner Monadnock RS (Brattleboro) Greg Taber [email protected] [email protected] Kris Schramel [email protected] [email protected] Los Angeles RO MARYLAND DELAWARE Matthew Ross Northern Maryland NEW JERSEY [email protected] Brandywine Richard Spittel Bergen County Mid-Peninsula RO Roger Matsumoto [email protected] Fred Palmer [email protected] Reita Powell [email protected] [email protected] MASSACHUSETTS Highland Park Nevada City RS FLORIDA Boston RO Donna Messer Kathryn Canan Miami Miyuki Tsurutani [email protected] [email protected] Ned Mast info@bostonrecorderorchestra. Montclair North Coast [email protected] com Julienne Pape Kathleen Kinkela-Love Greater Orlando Boston RS [email protected] [email protected] Jacqueline Singleton Henia Pransky Princeton Orange County RS [email protected] [email protected] Jere Tannenbaum Win Aldrich Palm Beach Recorders/Early Music Metrowest [email protected] [email protected] Missy Rovinelli Redding Bonnie Kelly [email protected] [email protected] Kay Hettich Pensacola NEW MEXICO [email protected] Worcester Hills Charles Tucker Julie Massi Albuquerque Sacramento Bryan Bingham [email protected] [email protected] Susan Titus Sarasota [email protected] [email protected] Carol Mishler Rio Grande (Las Cruces) San Diego County RS [email protected] MICHIGAN Marcia Fountain Vanessa Evans Ann Arbor [email protected] [email protected] Kevin Gilson Santa Fe GEORGIA San Francisco [email protected] John O’Donnell Atlanta Greta Haug-Hryciw Kalamazoo [email protected] [email protected] Mickey Gillmor David Fischer [email protected] [email protected]

46 AMERICAN RECORDER SUMMER 2021 HTTPS://AMERICANRECORDER.ORG CLASSIFIEDS

NEW YORK Portland VIRGINIA CLASSIFIEDS Buffalo Susan Campbell Greater Fredericksburg Classified rate for American Bonnie Sommer info@portlandrecordersociety. Kelly Kazik Recorder: 60¢ per word, org fredericksburgrecorders@gmail. [email protected] 10-word minimum. “FOR East End Recorder Ensemble RO Of Oregon (Portland) com (Montauk) Laura Kuhlman Northern Virginia SALE” and “WANTED” Tom Dunfee [email protected] Edward Friedler may be included in the [email protected] [email protected] copy without counting. Shenandoah - Charlottesville Hudson Mohawk (Albany) PENNSYLVANIA Zip/postal code is one Gary Porter Kathy Kuhrt Bloomsburg Early Music word; phone, email or web [email protected] [email protected] Ensemble page is two. Payment must Tidewater - Williamsburg Long Island Susan Brook accompany copy. Deadline Vicki Hall Pat Cassin [email protected] [email protected] is one month before [email protected] Philadelphia New York City Recorder Guild issue date. advertising@ Melissa Thomson americanrecorder.org Natalie Lebert [email protected] WASHINGTON [email protected] Pittsburgh Moss Bay Westchester Recorder Guild Helen Thornton Michael Bancroft Erica Babad [email protected] [email protected] [email protected] RO Of Puget Sound Charles Coldwell RHODE ISLAND [email protected] NORTH CAROLINA David Bojar Seattle Carolina Mountains RS [email protected] (Hendersonville) Laura Townsend Faber Susan Hartley [email protected] [email protected] TENNESSEE Knoxville Greenville WISCONSIN Ann Stierli Jon Shaw Green Bay [email protected] [email protected] Denise Jacobs Greater Memphis Triad Early Music Society [email protected] Susan Marchant (Greensboro) Milwaukee [email protected] David McDonald Deborah Dorn Greater Nashville [email protected] [email protected] Carol Vander Wal Triangle RS (Raleigh) Southern Wisconsin (Madison) [email protected] Sue Ann Wright Greg Higby [email protected] [email protected] TEXAS OHIO Austin Cleveland Derek & Beverley Wills [email protected] Edith Yerger CANADA Ft Worth - Cowtown RS [email protected] British Columbia (Vancouver) David Kemp Central Ohio Recorder Players & Helen Lightfoot [email protected] Friends (Columbus) [email protected] Dallas Vickie Starbuck Edmonton David Podeschi [email protected] Judy Johnson [email protected] Toledo [email protected] Rio Grande (Las Cruces, NM) Charles Terbille Montréal Marcia Fountain [email protected] Mary McCutcheon [email protected] [email protected] OREGON Okanagan RO (Kelowna) Eugene UTAH Bruce M. Sankey Lynne Coates Salt Lake City [email protected] [email protected] Mary Johnson Toronto Eugene RO [email protected] Sharon Geens Connie Newman [email protected] Visit our summer [email protected] VERMONT/NEW HAMPSHIRE 2021 events Oregon Coast (Lincoln City) Monadnock RS page listing Jane Boyden Kris Schramel Please contact the ARS office [email protected] [email protected] to update listings. workshops and festivals, https:// americanrecorder. org/workshops

HTTPS://AMERICANRECORDER.ORG AMERICAN RECORDER SUMMER 2021 47 ADVERTISING INDEX American Orff-Schulwerk Association ...... 8 American Recorder The mission of the American Recorder Society is to promote the recorder and Society ...... 5, 8, 11, 27, 30, 46-48 its music by developing resources to help people of all ages and ability levels to Amherst Early Music Festival ...... 26 play and study the recorder, presenting the instrument to new constituencies, Jean-Luc Boudreau, encouraging increased career opportunities for professional recorder Recorder Maker...... 11 performers and teachers, and enabling and supporting recorder playing Canzonet...... 30 as a shared social experience. Besides this journal, ARS publishes a newsletter, Honeysuckle Music...... 27 a personal study program, a directory, and special musical editions. Society members gather and play together at chapter meetings, weekend and summer JGJG Sheet Music...... 11 workshops, and many ARS-sponsored events throughout the year. In 2019, Lazar's Early Music...... 19 the Society celebrated 80 years of service to its constituents. Lost in Time Press...... 41 Magnamusic ...... 42 JOIN ARS, AND JOIN ARS MEMBERS ONLINE Moeck Verlag ...... IFC Membership information: https://americanrecorder.org/join Mollenhauer Recorders ...... OBC YouTube: americanrecordermag | Facebook: americanrecordersociety Early Music Guild of Oregon/ Switzerland Workshop ...... 26 Prescott Workshop ...... 8 EDITORIAL DEADLINES: Dec. 15 (Spring), March 15 (Summer), The Recorder Shop...... 11 Your contribution is June 15 (Fall), and Sept. 15 (Winter). Glen Shannon Music ...... 19 always welcomed. Texas Toot ...... 26 All submissions should be for the exclusive Very Good Recorder • Send a letter consideration of AR, unless otherwise noted, and Transcriptions...... 5, 41 to the editor reflect the viewpoint of their individual authors. Von Huene Workshop, Inc ...... 30 Their appearance in this magazine does not imply Yamaha Corp...... IBC • Submit articles official endorsement by the ARS. By submitting material to be published in a printed issue of AR, • Send chapter news this grants the ARS permission to use the material in additional online media. • Submit photos for covers and articles Articles may be sent as an attachment (doc or rtf preferred) or text in an email message. Photos may be sent as prints, or unedited JPG or 300dpi TIF files (cover photos minimum 9.5"x12"x300dpi).

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48 AMERICAN RECORDER SUMMER 2021 HTTPS://AMERICANRECORDER.ORG