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Home , Cor anglais, Dario Castello, Dizi (instrument), Mark Grieve, Music Minus One, Spun Gold

SEPTEMBER 2001 . 4 O . XLII, N OL , V OCIETY S ECORDER R MERICAN A UBLISHED BY THE P

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Magnamusic Distributors, Inc. PO Box 338, Sharon, CT 06069 Ph: (860)364-5431 Fax: (860) 364-5168 WEB: www.magnamusic.com

Music Minus One Recorder We are please to present American Recorder readers with a list of our current recorder offerings. Music Minus One recordings ﬁrst made their appearance in 1950. These editions go back to the work of Erich Katz and LaNoue Davenport who shaped the early development of the recorder in the United States.

Accompaniment Recordings Sheet Music and CD included

3 Sonatas for Alto Recorder, Echoes of Time 2 CD Set MMO 3357 Harpsichord & Viola da Gamba MMO 3340 N.Y. Renaissance Band Minus Alto Recorder The Rameau Trio Minus Alto Recorder Agricola; Brumel; Compere; Isaac; Josquin; Obrecht; Telemann: Trio in F Major; Handel: Sonata No. 3 in C major, Okeghem; Susato Trio Sonata in Bb major 18th Century Recorder Music 2 CD Set MMO 3358 3 Sonatas for Alto Recorder, N.Y.Renaissance Band Minus Alto Recorder Harpsichord & Viola da gamba MMO 3341 The Rameau Trio Minus Alto Recorder English Consort Music 2 CD Set MMO 3359 Handel: Sonata in F major; Telemann: Sonata in F major; N. Y. Consort of Viols Minus Alto Recorder Marcello: Sonata in F major Coperario; Dowland; Brade; Lawes; Schein; Byrd; Woodcock Renaissance Dances & Fantasias MMO 3356 Dances of 3 Centuries MMO 3360 N.Y Renaissance Band Minus Soprano Recorder Minus Alto Recorder Praetorius: Dances “Terpsichore” Attaingnant: 6 Pavanes & LaNoue Davenport, Recorders, Krummhorns, Tenor Viol; Judith Gaillards; Banchieri: Fantasie Davidoff, Treble & Bass Viol, Vielle; Susan Evans, Percussion Veracini: Four Sonatas MMO 3370 Instructional Material

Folk Songs of Many Nations MMO 3337 Let’s Play The Recorder MMO 3338 Compiled and edited by Erich Katz, Dean of the American A Children’s Method Recorder movement and the man responsible for the A delighful approach to recorder study for children. enormous recorder renaissance in the Easy exercises plus fully illustrated hand position U.S.A. during the 1960’s and ‘70’s. photographs take the player through all the steps Here is a superior text for learning to necessary to learn. play the soprano recorder. Each lesson is built around a series of duets and You Can Play The Recorder MMO 3339 trios, beginning with the simplest of An Adult Method folk songs to the more elaborate music of Bach. Your fellow player is LaNoue Recorder, guitar, percussion plus bass accompany you. Davenport, recorder virtuoso and This method, and its sister edition were developed by former performer with the Noah Sonya and Gerald Burakoff, who have taught thousands to play the Greenberg Pro Musica group. recorder. Contains step by step instructions with illustrations. Familiar songs and duets guide you to excellence.

Please send the recordings checked below: Single CD’s are $29.98, *2 CD sets are $34.98. Music Book included. MMO 3337 MMO 3356 Special Discount for American Recorder Readers-15%off with this coupon Ship to: MMO 3338 MMO 3357* MMO 3339 MMO 3358* NAME MMO 3340 MMO 3359* MMO 3341 MMO 3360 ADDRESS Charge to my: MMO 3370 CITY STATE ZIP

CARD# Music Minus One 50 Executive Blvd. Elmsford, NY 10523-1325 EXP. DATE / / 800-669-7464 • email: [email protected] • www.musicminusone.com EDITOR’S NOTE ______Volume XLII, Number 4 September 2001

Almost half of American Recorder readers FEATURES do not belong to a chapter of the ARS. They Play-Along Discs for the Recorder: An Overview ...... 11 are independent members, perhaps living Through the capabilities of CD technology, there are talented far from a chapter location or preferring to accompanists in every style waiting to sit down with you and play, practice on their own and to play by Susan Groskreutz with.....whom? If they are lucky, they know of instru- 4 Romantic Music for Recorder Ensemble: mentalists in their area who have the time Why Not? ...... 18 and the ability to read through our reper- Since recorder players have always adapted music intended for toire. But it is not easy to find other ama- others, there’s no reason 19th-century music should be ignored, teurs who have the right combination of by Thomas E. Van Dahm skills and who present no scheduling difficulties. And getting together a group for a Composing a Fugue for Recorders ...... 20 satisfying read-through of Brandenburg The second in a series of articles by composers and arrangers discussing how they write music for recorder, No. 2? Not likely. 11 So it is encouraging to know that there by Glen Shannon is a growing body of play-along materials DEPARTMENTS available for recorder players. How to sort it all out? AR asked Sue Groskreutz to Advertiser Index ...... 40 spend the beginning of her summer play- Book Reviews ...... 31 ing along with outstanding instrumental- Chapters & Consorts ...... 32 ists of previous decades and far-off coasts Classified ...... 40 and continents in an effort to guide our 20 readers in their search for the perfect virtu- Music Reviews...... 22 al consort experience (page 11). On the Cutting Edge...... 35 If you’re looking for live musical part- ON THE COVER: President’s Message ...... 3 ners, try the Amateur Chamber Music Illustration Response ...... 36 Players, a network of mostly string quartet by players who are reaching out to wind and Don Sommers Tidings ...... 4 early instrument players. ACMP directo- © 2001 ARS at Amherst, Carnegie Hall LinkUP!, Burgess Sonatina ries—one for North and Central America Indiana Recorder Academy, Boston Early Music Festival and one for the rest of the world—-list members hoping to be contacted for an evening of music-making, whether by trav- BENJAMIN S. DUNHAM, Editor elers passing through or by those seeking new local musical acquaintances. Check Contributing Editors out www.acmp.net or contact the ACMP at FRANCES BLAKER, Beginners; SCOTT PATERSON, Book Reviews 1123 Broadway, Room 304, New York, NY CAROLYN PESKIN, Q & A; CONSTANCE M. PRIMUS, Music Reviews EUGENE REICHENTHAL, Education; PETE ROSE, 20th-Century Performance 10010-2007; 212-645-7424. The group al- GILLIAN KAHN, Design Consultant so offers grants to engage coaches for amateur ensembles. Advisory Board Benjamin Dunham Martha Bixler • Valerie Horst • David Lasocki * * * * Bob Marvin • Howard Schott • Thomas Prescott • Catherine Turocy CORRECTION: The printed score of Carolyn Kenneth Wollitz Peskin’s “Then You’ll Feel the Sunlight” (May 2001, p. 19) contained a small mis- Copyright © 2001 American Recorder Society, Inc. take: The two sixteenth notes in the top Visit AR On-Line at: www.recorderonline.org American Recorder (ISSN: 0003-0724), 5554 S. Prince, Suite 128, Littleton, CO 80120, is published bimonthly (January, March, May, September, and November) for its members by the American Recorder Society, Inc. $20 of the annual $40 U.S. membership dues in the American Recorder Society is for a line of measure 10 should be G and A in- subscription to American Recorder. Articles, reviews, and letters to the editor reflect the viewpoint of their individual authors. Their appearance in this magazine does not imply official endorsement by the ARS. Submission of articles and photographs is welcomed. Articles may be typed or submitted on PC discs (Word stead of A and B and should occur on the for Windows, or RTF preferred) or as an attachment to an e-mail message. They should be for the exclusive consideration of AR, unless otherwise noted. first half of the second beat. A corrected Photographs may be sent as color or black-and-white prints, or 300-dpi TIFF images. Advertisements may be sent in the PDF format, with fonts embedded. Editorial office: Benjamin S. Dunham, Editor, American Recorder, 472 Point Rd., Marion, MA 02738; 508-748-1750 (business hours), 508-748-1928 (fax); version has been posted for members at AR [email protected]. Deadlines for editorial material: November 15 (January), January 15 (March), March 15 (May), July 15 (September), and September 15 (November). Books for review: Scott Paterson, 77 Queensbury Ave., Scarborough, ON M1N 2X8, Canada. Music for review: Constance M. Primus, Box 608, Georgetown, CO 80444. Recordings for review: Editorial office. Cutting Edge: Pete Rose, 13 Rutgers St., Maplewood, NJ 07040; On-Line (www.recorderonline.org). The [email protected]. Chapter newsletters and other reports: Editorial office. Advertising: Editorial office. Advertising Closings: December 1 (January), February 1 (March), April 1 (May), August 1 (September), and October 1 (November). Postmaster: Send address changes to American Recorder associated MIDI file plays correctly. Society, Box 631, Littleton, CO 80160-0631. Periodicals postage paid at Littleton, CO, and at an additional mailing office. ARS Chapters

ALABAMA ILLINOIS New York City: Michael Zumoff Birmingham: Martin K. Payne Chicago: Patrick O’Malley (212/662-2946) (205/979-6430) (773/293-3138) Long Island: Margaret H. Brown West Suburban: Eric Stern ARIZONA (516/765-1867) AMERICAN (708/594-9243) Rochester: Marilyn Plain Phoenix: Donald Harrington RECORDER (602/956-1344) KANSAS (716/475-1453) Tucson: Scott Mason (520/721-0846) L&L Early Music Ensemble: Liz Low Rockland: (913/727-3554) Westchester: Carol B. Leibman SOCIETY ARKANSAS (914/241-3381) INC Aeolus Konsort: Louisa Rollefson LOUISIANA . (501/225-4846) Baton Rouge: John Waite NORTH CAROLINA Honorary President Bella Vista: Barbara McCoy (504/925-0502) Triad: Donna Yaniglos (336/292-9995) (501/855-6477) New Orleans: Chris Alderman ERICH KATZ (1900-1973) Triangle: Cindy Osborne (919/851-1080) (504/862-0969) Honorary Vice President CALIFORNIA OHIO Central Coast: Elizabeth Blake MARYLAND Greater Cleveland: Edith Yerger WINIFRED JAEGER (805/534-9414) Northern Maryland: Dawn Culbertson (440/826-0716) Statement of Purpose East Bay: Glen Shannon (410/825-1379) Toledo: Marilyn Perlmutter The mission of the American Recorder Society is (510/525-1249) Monterey Bay: Lorrie Emery MASSACHUSETTS (419/531-6259) to promote the recorder and its music by (831/423-8309) Boston: Charles Wibiralske developing resources and standards to help North Coast: Carolyn Moskowitz (617/739-9651) OREGON Worcester Hills: Jennifer Southcott people of all ages and ability levels to play and (707/476-0421) Oregon Coast: Corlu Collier North County: Barbara J. Martin (978/263-5875) (541/265-5910) study the recorder, presenting the instrument (760/731-5940) MICHIGAN to new constituencies, encouraging increased Orange County: Doris Leffingwell PENNSYLVANIA Ann Arbor: Ole Lundin (949/494-9675) Philadelphia: Dody Magaziner career opportunities for professional recorder 734/668-4842 Riverside: Elizabeth P. Zuehlke (610/886-2241) performers and teachers, and enabling and Kalamazoo: Chris Bartley (310/376-2669) Joanne Ford (215/844-8054) supporting recorder playing as a shared social (616/341-4590) Sacramento: Ronald Koetzsch Pittsburgh: Karen Lukas Metropolitan Detroit: Peter Lundell experience. Besides this journal, (916/965-1341) (248/542-9907) (412/731-7411) San Diego County: Carol Resnick ARS publishes a newsletter, a personal study Muskegon: Marge Winter South Central: Rick Graham (619/466-7983) program, a directory, and special musical (231/744-1703) (717/854-6415) editions. Society members gather and play Sonoma County: Dan Lapsansky (707/865-0728) MINNESOTA RHODE ISLAND together at chapter meetings, weekend and South Bay: Joanna Woodrow Twin Cities: Jean Fagerstrom Rhode Island: David Bojar summer workshops, and many ARS-sponsored (408/266-3993) (612/722-4967) (401/944-3395) Southern California: Lynne Snead events throughout the year. In 2000, the Society MISSOURI (661/254-7922) TENNESSEE entered its seventh decade of service to its St. Louis: Chris Langton Village Festival Recorder Orchestra: Greater Knoxville: Ann Stierli constituents. (618/374-1209) Richard Geisler (530/477-2293) (423/637-6179) Board of Directors COLORADO NEBRASKA Nashville: Marcus Mendenhall Flatwater: Richard Jizba (402/498-5671) John Nelson, President; Chair, Education Boulder: Robert Keep (303/651-2659) (615/383-7078) Richard Carbone, Vice President, Chair, Seniors Colorado Springs: Richard Wood NEVADA TEXAS (719/591-0548) Sheila M. 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Big Island: Roger Baldwin (808/935-2306) (518/377-1532) to update chapter listings.

2 American Recorder PRESIDENT’S ______MESSAGE ______

My summer vacation

NE OF THE PLEASANTEST things about and a mysterious serpent that spent the en- the three works we O being your president is the excuse it tire concert plus two encores leaning qui- looked at were my own gives me to participate in events that I etly against the back of the stage. A number arrangements. There might not otherwise ever experience. Case of us in my vicinity were about to stage a was quite an age range: from just barely 8 in point: the annual Boston Early Music mutiny, but someone finally did play the to senior citizens probably older than me. I Festival. This year I attended for the first thing, and it put a pleasant cap on the was especially pleased that the McCleskey time ever, and I rate the experience as real- evening. Middle School Recorder Ensemble was ly superb. Elsewhere in this issue you’ll Since this was my first time at BEMF, it there in force. A good thing, too, since the find more about the Festival. What follows was also my introduction to the ARS Great group made up well over half of those in are some random observations about the Recorder Relay. In addition to being able to attendance. event and its surroundings. introduce some friends from Atlanta, it was At noon we made our way back to Jor- I’d first of all like to thank Delta Airlines a pleasure to be able to hear the variety of dan Hall for Hugo Reyne’s excellent recital, for getting me to Boston reasonably on music and styles presented, and I’m sure followed by a reception in honor of the time. Considering that’s the first time I’ve that the six groups merely scratched the newest recipient of the Distinguished been able to say that in my whole time on surface of what is possible. Achievement Award, Frans Brüggen. the ARS Board, it ranks as a small miracle. Sunday was a special day for me. In a After the reception, I decided to head Of course, the airline forfeited a bit of my sense, it held some high points and the on- back to the hotel to get ready to fly back to good will during my return trip on Sunday, ly really bad time I had during the week- Atlanta. That was just about the time the but that’s quite another story. Then, there end. Since many of the board members rains that were the remnant of tropical was the heat. Being from Atlanta, I’m no were there, it was almost inevitable that storm Allison came down—in torrents. By stranger to heat, but this was unseason- some business was transacted. There were the time I got to my hotel, I was drenched. able, and when you’re old and out of shape budget discussions, informal meetings Fortunately, I was able to change into dry like me, climbing Beacon Hill just about with committee chairs, and the usual Sun- clothes before heading to the airport, only did me in. Thank heaven for air-condi- day morning meeting of the Board with to stand in line for two hours to check in tioned hotel rooms. chapter representatives. Many problems and find that my 8:15 flight to Atlanta As for the Festival itself, I was particu- were brought up and discussed and per- would not leave until 10:45. Not the most larly impressed by the exhibits. The num- haps a solution or two came out of the de- pleasant end to what had been, to that ber and variety of instrument makers is tru- liberations. point, an enjoyable and profitable week- ly amazing. I’m sorry that I wasn’t in the The Sunday play-in was a real treat. I end. Now, I’m looking forward to next year market for a recorder. I imagine that being had the honor of leading the session and I at Berkeley. able to play some really world-class instru- make no apologies for the fact that two of John Nelson ments would have been quite a thrill. I imagine that trying out instruments just for the fun of it would have been permissi- One BEMF program I attended was the concert by ble, but somehow just didn’t seem right. Doulce Memoire. For sheer fun, this one would be hard Maybe next time. I attended only a limited number of to beat. It had just about everything you could ask for: concerts and recitals. For reasons that excellent music played by a variety of instrumental seemed perfectly logical at the time, I chose not to attend the opera. From what combinations, singing, dancing, and a mysterious I’ve heard, I missed a really fine perfor- serpent that spent the entire concert plus two mance. One program I did attend was the encores leaning quietly against the back of the stage. concert by Doulce Memoire. For sheer fun, this one would be hard to beat. It had just A number of us in my vicinity were about to stage a about everything you could ask for: excel- mutiny, but someone finally did play the thing, lent music played by a variety of instrumental combinations, singing, dancing, and it put a pleasant cap on the evening.

September 2001 3 ______TIDINGS ______Rows of students launched enthusiastically into “A Simple Melody,” a song written especially for the occasion by composer Nick Scarim. ARS Shows Up Strong At Amherst Early Music Festival ARS was especially well-represented at the chose the Amherst workshop to further Amherst Early Music Festival held on the learn the early music genres. She loves campus of the University of Connecticut in playing and intends to keep music in her Storrs this summer. life. Tim is 18 and about to begin studying Immediately after registration, all par- at Catholic University of America in Wash- ticipants were invited to an “ARS Play-In” ington, D.C. His parents started him on re- led by Eric Haas of the Von Huene Work- corder at the age of 5 and by 14, he decid- shop. Eric, using copies of his own compi- ed he wants to become a composer. He in- PHOTO: CHRIS LEE COURTESY CARNEGIE HALL lation, One more time..., quickly had us tends to major in music composition in playing and enjoying settings of the same college and has already completed several 20,000 Make Carnegie melodies used by different Renaissance pieces, including “Lyric By Myself,” for so- composers. lo alto recorder, “Lyric For Trio,” for piano, Hall Debut on Recorder At the opening orientation meeting that cello, and soprano recorder, and “Nunc evening, AEM director Marilyn Boenau in- Dimitis,” for full chorus, three soloists and Last May, almost 20,000 young recorder troduced the two ARS scholarship recipi- organ. Both Irene and Tim performed in players made their Carnegie Hall debut. ents, Irene Mena from Santo Domingo, the week-ending student concert, Irene Led by conductor John Morris Russell, as- Dominican Republic, and Tim Dusenbury with music school friends who had come sociate conductor of the Cincinnati Sym- from Laurel, Maryland. Irene is 19 years of with her from the Dominican Republic, phony Orchestra, rows of students repre- age and is about to begin her third year as and Tim in different ensembles. Both im- senting fourth through sixth grades from an industrial engineering student at the pressed the audience with their enthusi- the tri-state area and as far away as Ithaca, Pontificia Universidad Catolica y Maestra asm and playing skills. New York, launched enthusiastically into in Santo Domingo. A long-time recorder The ARS also set up a table at Amherst’s “A Simple Melody,” a song written espe- student at a community music school, she Early Music and Instrument Exhibition, cially for the occasion by composer Nick held between weeks one and two of Scarim. They were accompanied by the Or- the workshop. This long-standing chestra of St. Luke’s, which went on to per- event attracts not only the work- form Dvorak’s “New World” Symphony— shop’s faculty and students, but al- without recorder accompaniment! so draws visitors from all around The series of ten concerts (two a day for the region. This year, the ARS was five days) were the culminating event of present with a tabletop of posters, Carnegie Hall’s LinkUP! classical music magazines, samples of publications education program, which included the re- and membership information, and corder in the curriculum for the 2000- application forms. With the help of 2001 school year. In collaboration, The a small but energetic group of vol- Metropolitan Museum of Art produced a unteers who staffed the table, the poster featuring three historical recorders ARS was able to put its activities and from its collection of musical instruments goals before all comers, and many that was distributed to all participating took the opportunity to join or re- schools. The ensemble Piffaro presented join the Society. in-school concerts to 16 of the participat- Richard Carbone ing schools. For more information about Carnegie Hall’s LinkUP! program, go to the Educa- ARS scholarship winners at tion section at www.carnegiehall.org. This the 2001 Amherst Early Music fall, The Metropolitan Museum of Art’s Festival: Irene Mena from website will include an activity for students Santo Domingo, Dominican on the recorder. The Museum’s website is Republic, and Tim Dusenbury at http://metmuseum.org. Click on “Ex- from Laurel, Maryland. plore and Learn.”

4 American Recorder sical output matches his literary produc- Sonatina by Novelist Anthony Burgess tivity. Burgess was born John Burgess Wil- Published by American Recorder Society son in 1917 in Manchester, England. He was a precocious child who taught himself to read music and play piano after having The American Recorder Society has an- the Harry Ransom Humanities Research been captivated by the sound of the mod- nounced the publication of a recently-dis- Center, The University of Texas at Austin. It ern music he heard on the radio. Although covered musical composition for recorders was discovered by ARS member Scott Pa- his initial desire was for a musical career, by the late author Anthony Burgess, best terson, a faculty member of the Royal Con- various twists of fate—not least a misdiag- known for such books as A Clockwork servatory of Music in Toronto, during re- nosed brain tumor—led him to want to Orange. search for an AR magazine article on Bur- provide for his family through the more lu- Sonatina, a one-movement work for al- gess (September 2000). While it is possible crative career of author and broadcaster, to recorder and piano, is now published as that the work originally had more move- which he pursued with wit and vivacity un- a facsimile of the composer’s original man- ments, Paterson describes it as “a satisfy- til his death in 1993. uscript in the ARS Erich Katz Contempo- ing, self-contained piece.” Most of Burgess’s recorder music was rary Music Series (see page 28). The man- Burgess was an avid musician and com- written late in his career for his son, An- uscript is in the Anthony Burgess archive at poser all his life, and the volume of his mu- drew Wilson, who is a professional performer on woodwinds. In his music for re- Indiana Academy Attracts International Students corder and piano, Burgess typically bal- ances an active and demanding recorder The Indiana University Recorder Academy was truly an international event this part against a full, sonorous piano part. Until 1988, the Katz Series published PHOTO: CHRIS LEE, COURTESY CARNEGIE HALL PHOTO: CHRIS LEE, COURTESY CARNEGIE year. In addition to students from all over the U.S. (California, Colorado, Texas, Illi- nois, Missouri, Washington, D.C., Minnesota, Indiana), we had two students from prize-winners in a contest for original re- Argentina and one from Austria. corder works (underwritten by the ARS’s The days of the two-week Academy were filled with private lessons, daily ensem- Erich Katz Memorial Fund). It now in- ble classes, theory instruction, large group playing, preparation of a commedia del- cludes other recent significant works for l’arte, Renaissance dancing, Renaissance ensemble, learning a music computer pro- recorder, such as the only known work for gram, daily practice sessions, and two concluding recitals. Recreation included recorder by Czech-American composer Va- bowling, swimming, preparation of an Academy newspaper, a pontoon trip, and clav Nelhybel. Katz, honorary president of ping-pong and chess tournaments, not to mention the concluding gong show. ARS, promoted recorder playing in Ameri- The level of playing was extremely high this year, equally so the level of good ca in the years after World War II until his feeling and and community spirit. Students comment that a great thing about the death in 1973. The centenary of his birth Academy is that it allows them to be with kids their own age who take the recorder was celebrated by the ARS in 2000. seriously and excel to a high degree. Marie-Louise Smith Bits & Pieces

Daniel Koschitzki, a participant in the Virtuoso Recorder Program at the Amherst Early Music Festival, will replace Paul Leenhouts, who is leaving the Amster- dam Loeki Stardust Quartet this fall. Early Music America magazine editor Robin Perry Allen has resigned in order to devote her full attention to the editorship of The Voice of Chorus America, a position she has held concurrently with her EMA post. Her resignation will become effective after she completes the winter issue of “EMAg.” The National Guild of Community Schools of the Arts will seek a new executive director following the retirement in December of Lolita Mayadas, who led Standing, back row, left to right: Elise Lauterbur (Illinois), David Giusti the organization through an extraordinary (Washington DC), Andrew Levy (California), John West (Minnesota), Yanina period of growth and service during the German (Argentina) holding Paula Bisson (Argentina), Elin Williams 1980s and 1990s. (Indiana), Marina France (Washington DC); seated front row, left to right: This fall, John Tyson will begin teach- Fiona Foster (Colorado), Anna Brumbaugh (Colorado), Amalia Maletta ing at Boston University’s School of Music (Washington, DC), Rachel Siegel (Missouri), Kerstin Picker (Austria), in addition to the New England Conserva- Chris Avery (Colorado), Sarah Compton (Texas). tory and the Corso Internationale di Musi- ca Antiqua in Urbino, Italy.

September 2001 5 ______TIDINGS ______Andreas Küng, who demonstrated his own new ______historical recorders during the 2001 Boston ______Early Music Festival, tries out instruments at the exhibition booth of Jean-Luc Boudreau. French Focus of Boston Early Music Festival Provides Special Opportunities for Recorders PHOTO: WILLIAM STICKNEY The audience in Jordan Hall was blissfully and flute, and Michael Lynn and Alison Marc-Antoine Charpentier, Hervé Niquet unaware of a gathering rainstorm until the Melville playing recorder and flute. The directed the singers and instrumentalists very end of Hugo Reyne’s captivating re- entrance of Minerva at the end of the first using large, conductorly gestures that corder recital midday Sunday, June 17, act, accompanied by three A-392 recorders elicited a rich and impressive sound. during the Boston Early Music Festival. loaned by the Von Huene Workshop The French virtuoso used a collection (though “six flutes disguised as women” Concurrent concerts of fine recorders, including an original were called for in the score!) was a moment On the first Sunday, before most trav- Thomas Stanesby, Jr., alto (restored by of special enjoyment. On Thursday ellers had arrived, Concordia (Sheila Friedrich von Huene) heard in a short evening, during “Les Fleurs Enchantées” Beardslee, director, Audrey Benevento, sonata by Jacques Paisible and a suite by (a program of Rameau and Clérambault George Mastellone, and Mark Maiden, Jacques Hotteterre. A lovely voice flute and employing the opera orchestra), Gruskin recorders) teamed with two other Boston a fourth flute (recorder in B ) made by Tim was given a delicious flute solo in the open- groups, Vox Lucens and Pavane Renais- Cranmore were used in suites by François ing Rameau suite, while Lynn and Melville sance Dance Company, in “It Came from Dieupart. A very gentle Suite in G Minor by rendered their parts admirably. Italy: The Migration of the Madrigal.” Pierre Gautier was performed on another The Friday evening concert of Ensem- Judith Linsenberg’s Thursday noon- mellow recorder, a tenor, with a continuo ble Doulce Mémoire under the direction time concert was a treat for recorder ma- of theorbo (Paul O’Dette) and gamba of early winds specialist Denis Raisin- vens. Well supported by the deft continuo (Margriet Tindemans). Gautier founded Dadre was a crowd-pleasing romp in of Charles Sherman, harpsichord, and Jane the first provincial opera house in France at which outstanding musicianship was bal- Hershey, gamba, she started with less-well- Marseilles. After a coastal tour in 1696, anced by choreographed stagings of obvi- known works by Isabella Leonarda, Fran- poor M. Gautier and his company, return- ous audience appeal (see page 3). cesco Rognoni, and Nicolao à Kempis, and ing home by sea, were lost in a raging It was a pleasant surprise for recorder finished with works by Marais, Bach, and storm, something like the one that was enthusiasts that the “flutes” in Le Concert Vivaldi. The showy scalar passages of Nico- forming at this very moment. After harpsi- Spirituel, making their U.S. debut on Sat- lao’s Symphonia II (1647) won a well-de- chordist Pierre Hantaï performed two of urday evening, were really recorders, served “wow” from the audience, and Lin- Bach’s English Suites with verve and played skillfully by Michelle Tellier and senberg’s own arrangement of Vivaldi’s artistry, the concert continued with Anne Pierre Boragno. In a program of music by Sonata in G Minor, RV 16, displayed not Danican Philidor’s Sonata in D Minor. Reyne played the fourth movement, the From Frans Brüggen: No need to say how honored I am with the ARS Gracieusement, in the words of Martha Distinguished Achievement Award and how pleasant it has been to receive it out Bixler, “more slowly and at the same time of the hands of Ms. Galhano. I am sorry not to have been able to attend your more beautifully than I have ever heard it meeting. Please give my best wishes and thanks to all of my friends at the ARS. played before. Throughout the concert, Frans Brüggen Reyne’s playing was—even at its most vig- Amsterdam, Holland orous—very relaxed,” with superb tone, intonation, and taste. Near the end, the monsoon outside made itself known in- side the hall, with torrents of water splash- ing down backstage. The performers re- mained calm, and Reyne was inspired to repeat for his encore “Le cascade de Saint- Cloud” from the Hotteterre suite. BEMF’s featured presentation, the Lul- ly opera Thésée, satisfied both the eyes and Above, at the ARS reception after the Hugo Reyne concert, past DAA winners the ears. Not only were the costumes and Friedrich von Huene and Martha Bixler, with, second from left, ARS sets spectacular, but it was good to see for- President John Nelson and, next to him, Hugo Reyne. Above right , Cléa mer ARS president Shelley Gruskin in the Galhano and Frans Brüggen at the DAA recipient’s Amsterdam home. pit and on-stage playing musette, recorder,

6 American Recorder only her commanding technique but also, Right, Cesar Villavicencio in the opening Preludio, her ability to sus- helps a member of the tain a spell-binding meditation. McCleskey Middle School Thursday afternoon, the ensemble Recorder Ensemble alter the Saltarello (Sarah Cantor, recorders, An- sounds generated by his gus Lansing, gamba, and Henry Lebedin- “MIDIfied” Paetzold re- sky, harpsichord) presented “Les Plaisirs corder. Below, ARS President Redoublés,” a rewarding collection of mu- John Nelson congratulates sic from the French court by Couperin, Le- Judith Linsenberg after her clair, Forqueray, Braun, and Rameau. The recital, as ARS board mem- three players continually found ways to in- ber Sheila Fernekes looks on. teract and communicate musically, especially with light, alert playing in the movements of a “Suite de ballet” arranged by PHOTO: WILLIAM STICKNEY Saltarello from three Rameau operas, Below, fans of Sara Funkhouser (second from Platée, Castor et Pollux, and Dardanus. right) congratulate her after the concert of the In the 5:30 slot on Thursday, Andrew University of North Texas Baroque Ensemble. Appel’s Four Nations Ensemble played host to a group of superb musicians from China, who alternated their versions of an- cient Chinese court music with Four Na- tions’ renditions of music for the French court. Among the guests was Gao Renyang, who was riveting on xun (cross- blown ocarina) and dizi (traditional Chi- nese membrane flute). Charles Brink was her excellent Occidental counterpart on Baroque flute. On Friday morning at the Church of St. John the Evangelist, a concert of English Left, Denis Raisin-Dadre shows Alicia and French music as it might have been Kravitz how to make a broader sound. heard in the Colonies was given by members of the Baroque Orchestra of Boon- ton: Anthony Bevilacqua and Christopher Brune, violins, E. Michael Markwis, recorders, and Tim Taylor, harpsichord, with Robert W. Butts, director of the Boonton orchestra, playing guitar and viola da gamba and providing welcoming intros for the audience. The instrumentalists were At the ARS Great Recorder Relay: joined by singer Catherine Spadora, a right, from the left, Jody Miller, Jen poised and talented 16-year-old, in the per- Markwood, and Jonathan DeLoach formance of a Lully air, “Bois Epais.” An perform Scherer. Below, from right, enthusiastic audience left the church Tricia van Oers and Rachel Begley whistling Handel, Purcell, Lully, and tradi- with Jennifer Griesbach. tional country dance tunes. At noon on Friday, Choraulos performed in the ideal acoustics of the Old South Church Gordon Chapel. Virginia Kaycoff, Sandi Leibowitz, and Holly Mentzer mixed their voices with vielles, recorders, percussion, psaltery, dulcimer, rebec, flutes, and harp in a stimulating program of Medieval music devoted to the Vir- gin Mary, including works by Alfonso el Sabio and Hildegard von Bingen. Early Friday afternoon, faculty members from The Peabody Conservatory, including recorderist Gwyn Roberts, played an attractive program of Baroque music at the Boston Center for Adult Education. Roberts’s warm tone and sinuous phrasing PHOTOS: WILLIAM STICKNEY

September 2001 7 were perfect for the Boismortier Concerto Jonathan DeLoach, and Jen Markwood, McCleskey Recorder Ensemble II in G Major that concluded the concert. Returning for their third Festival, the presented music for one, two, and three re- A hike over Beacon Hill to the Church McCleskey Middle School Recorder corders and flute, including Timothy of St. John the Evangelist later that after- Ensemble from Marietta, Georgia, pre- Broege’s Two-Part Elegy for LaNoue Daven- noon was well rewarded by the music mak- sented an ambitious program with en- port, played as a solo by Miller on alto and ing of the students and faculty in the Uni- viable technique and musicality, con- soprano recorders. In music of Arnold versity of North Texas Baroque Ensem- ducted by Jody L. Miller, the school’s Cooke and Markus Zahnhausen and a ble. Sara Funkhouser filled the live assistant director of bands. sonata for three recorders by Johann acoustics with clear tones on recorder, Timothy Broege’s Sinfonia for Re- Scherer, the musicians were satisfyingly in- teaming up with Lyle Nordstrom, lute, to corders, originally for wind band, was sync in ensemble and intonation. play divisions by Giovanni Bassano and performed by the ensemble and three John Tyson’s program, “Poème with Cynthia Roberts, violin, on Uccelli- student soloists. A duet version of his Parisien,” was announced cabaret-style ni’s Aria quinta sopra La Bergamesca. Two-Part Elegy for LaNoue Davenport and presented with the help of his wife Roberts’s own solo in Castello’s Sonata Se- was beautifully played by Miller and Miuki Tsurutani, recorder, Steve Tapper, cunda was delivered with a thrilling mix- the composer, followed by a polished flute, and Audie Bridges, guitar. Flashy ture of control and abandon, and the stu- rendition of Broege’s challenging quin- music of the 19th-century virtuoso Nar- dent violinists Emi Tanabe and Michelle tet Meadows by Miller, Broege, Jen cisse Bousquet was combined with the Brians matched perfectly in Marini’s Markwood, Jonathan DeLoach, and modern Liens (1971) by Jean Claude Veil- Sonata in Ecco (played from the balcony) ARS Executive Director Gail Nickless. han and Tyson’s own atmospheric Lost in and in an anonymous Sinfonia à 5. The remainder of the program was Space (2001) for pre-recorded tape and en- devoted to late Renaissance and old- On Saturday afternoon, Daphna Mor, semble (joined by Sarah Cantor). Cantor style music. Eight-year-old Haley with fellow artists Borys Medicky, harpsi- held the stage for the next recital as a duo Huang, the group’s youngest member, chord, Michael Dolbow, cello and gamba, was featured in a set of variations on with gambist Angus Lansing. After Cou- and Ryan Turner, tenor, presented a most- “The Leaves Be Green.” Throughout, perin’s Le Rossignol en amour and two early ly Baroque program at The Boston Conser- the ensemble played cleanly and confi- anonymous duets, they ended with a Bach vatory, where she was a recent valedictori- dently with excellent intonation, two-part invention and vivacious Rameau an. Her emotional involvement in the mu- demonstrating once again what 7th- tambourins. Throughout, the quick, re- sic was everywhere evident in works by and 8th-graders can do under the guid- sponsive playing of Lansing showed off Telemann, Buxtehude, and Mancini, and ance of a director who treats the re- Cantor’s flexible playing to advantage. her openness to new music was exhibited corder as a serious instrument. Rachel Begley and Tricia van Oers in the realization of the brand-new Balkan Carolyn Peskin (accompanied by Jennifer Griesbach on a Suite by world-music composer Jimmy on a fine, Flemish harpsichord by James Kachulis. of phrases, to subsume upbeats into the Campbell generously provided to the ARS larger rhythms, to distinguish neighboring by Glenn Giuttari of the Harpsichord Recorder master classes notes and arpeggiated notes by length, and Clearing House) concluded the Relay. On Thursday afternoon, Denis Rai- to weaken resolution of dissonances. At Their program began with Corelli’s Sonata sin-Dadre worked in a master class with the end of the master class, Reyne gave in F Major, Op. 6, No. 3, played with love- Alicia Kravitz, a teenage student of Karen helpful advice to young Haley Huang and ly character and feeling, and ended with a Snowberg’s. Kravitz presented Van Eyck’s listened attentively to the members of the Salamone Rossi sonata with lots of ingrati- “Daphne” variations on a Baroque sopra- McCleskey Middle School Recorder En- ating passages in thirds. In between, on no, but Raisin-Dadre showed her how pre- semble as they performed Timothy voice flutes, came André Cheron’s Sonata Baroque recorders can encourage full, re- Broege’s Sinfonia for Recorders. No. 4 in E Minor (1729). The overlapping laxed blowing and a more encompassing dissonances of its concluding fugue were sound. Using a call-and-response tech- Recorder Relay beautifully delineated. nique, he introduced her to didd’le tongu- Recorder enthusiasts woke up early on ing, and within a few brief moments, she Saturday morning to start the day with Early Music America was rippling through passagework with Steve Tapper, the first performer in the In the midst of a rich schedule of meet- creamy smoothness. ARS Great Recorder Relay. Joined by John ings and forums, Early Music America Surely no one got more out the the BE- Tyson, recorder, and Audie Bridges and presented the Thomas Binkley Award for MF than Ms. Kravitz, who also led off as the Tim Archibald on guitar, Tapper sampled outstanding collegium director to Mark first student in Hugo Reyne’s Saturday af- music from Hebrew, Brazilian, and Irish Cudek, director of the Peabody Renais- ternoon master class at The Boston Con- traditions, as well as music by Pat Metheny, sance Ensemble at Johns Hopkins Univer- servatory. Playing Boismortier for the the Beatles, and Harold Arlen. Next on the sity, and the Howard Mayer Brown Award French virtuoso, Kravitz received words of program was a trio of Sarah Cantor, Eric for lifetime achievement to Timothy wisdom: It is easy in French music to get Haas, and Tricia van Oers performing McGee, a founder of the Toronto Consort fixated on the punctuation—the orna- “Birds, Fancies, and Other Delights.” The and professor of musicology at the Univer- ments—he said, but it is more important clever program included a “fantastic bes- sity of Toronto. to make a good sentence. Working with her tiary” consisting of fantasias by Bull, Lupo Benjamin Dunham, and later with Jody Miller, Jonathan De- (wolf), and Byrd, and ended with a lus- with contributions from Martha Bixler Loach, and Jen Markwood (who reprised cious sonata by Louis-Antoine Dornel their Scherer trio from the Great Recorder transcribed for three voice flutes. ED. NOTE: The “Making It as a Recorder Play- Relay), he emphasized ways to taper ends Representing Georgia, Jody Miller, er” panel report will appear in a future issue.

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PLAY-ALONG DISCS FOR RECORDER: AN OVERVIEW

by Susan Groskreutz

IVING IN A SOMEWHAT RURAL AREA where a useful guide to progressive study for re- The first in a two-part L continuo team or a chamber ensemble corder players created by Frances Blaker, cannot be found on every block, it is not which lists the selections from the easiest examination of the play-along surprising that I became very interested in to the most difficult. Notes about the com- materials available on play-along CDs. I have long known about posers, interpretive suggestions, and refer- CD for aspiring and worked with Music Minus One CDs, ences to detailed historical treatises are in- and I think that I have played the second cluded. DiscContinuo II contains a perfor- recorderists. movement of the Albinoni D minor oboe mance alert system, where a symbol in the concerto (on recorder) accompanied by printed music alerts the performer to a my trusty “boom box” in almost every change in tempo or mood, the use of ru- church in town. The discovery of the Disc- batos, ritards, accelerandos, other musical Continuo series greatly expanded the nuances in the ensemble, or instructions repertoire that I could perform with my on how to get back in after a rest. The CDs boom box—it also added much fun and that come with both DiscContinuo and interest to student lessons. Thus, I began DiscContinuo II contain extra track num- an enthusiastic exploration of the entire bers at logical places within longer compo- play-along CD industry as it relates to re- sitions/movements. The selections in all corders. This two-part article covers only three volumes include metronome tempo the play-along CDs appropriate for re- indications so that players can learn the corder that require only a CD playback de- material at the appropriate tempo before vice and no extra fancy computer pro- attempting to play along with the recorded grams. Part I discusses companies that continuo ensemble. The accurately notat- produce products primarily aimed at expe- ed metronome taps that precede each rienced adult players—DiscContinuo, movement are subtle enough so that they Dowani, Music Minus One, and Music- aren’t heard in a public performance. Partner. Part II, to be published in the No- The majority of the printed music in the vember issue, will discuss play-alongs pro- DiscContinuo series does not contain duced primarily for children. complete scores. In some cases, two voices are printed. The Pre-DiscContinuo contains DiscContinuo: General Remarks a section of consort music in which the en- The three volumes of the DiscContinuo tire score is printed. (Incidentally, these series (Pre-DiscContinuo, DiscContinuo, consort selections do not always omit the and DiscContinuo II) feature Frances Blak- top line; you will have the opportunity to er (recorder), Letitia Berlin (recorder), play soprano, alto up, tenor, and bass re- Louise Carslake (recorder and flute), corders.) DiscContinuo II contains a suite Michael Sand (violin and viola da gamba), by Pierre Danican Philidor, and the printed Phebe Craig (harpsichord), Barbara Blaker music for the Prelude does include the (cello), and Susan Rode Morris (soprano). bass line, as this selection would be extra- This series was the brainchild of Phebe ordinarily difficult to perform without the Craig and its volumes are produced by visual help provided by the bass line. Oc- Phebe Craig and Katherine Westine for casionally, some bass line cues are printed their company KATastroPHE Records. The to help bring the soloist back in at risky DiscContinuo CDs are accompaniment spots. only, with no complete performances included. The obvious advantage to this is Pre-DiscContinuo that each CD can contain a greater number The Pre-DiscContinuo volume contains of compositions in several different styles. selections by Handel, Corelli, Purcell, Lul- Each DiscContinuo volume contains a ly, Oswald, Dowland, Lassus, de Sermisy,

September 2001 11 Arcadelt, and William Lawes. As the title implies, Pre-DiscContinuo is meant for What I want in a play-along CD those with less experience. However, the use of the “Pre” in the title might lead to After playing along with approximately 200 compositions contained on 35 the misconception that a beginner would CDs, I have created a list of features that I most appreciate in a play-along do well in this book. Players must be fluent CD. I prefer to hear real instruments, and much to my delight, none of the on both C and F fingerings and able to per- CDs covered in this article is synthesized. (But almost all play-alongs form many trills. Phrasing, tonguing, and produced for children are synthesized!) I would like the first track on each breathing are explained, and newer players CD to be a tuning note, as it can be rather disconcerting to discover the need will obtain valuable experience with hemi- to pull out in the midst of the first phrase. When tempo setting metronome olas, beginning ornamentation, and notes taps are necessary, I like them loud enough to be heard, but subtle enough inégales. Although the title to Pre-DiscContinuo so that the CD could conceivably be used in a public performance. contains the word “continuo,” not all of Also, the printed music should include tempo indications, as well as no- the selections use a continuo accompani- tation indicating the number of taps and the value of the note being tapped. ment. A Jean Baptiste Lully selection enti- Longer movements should contain extra track numbers on the CDs. This al- tled “J’en vais perdre la vie” is presented in lows the student to obtain extra practice within a problematic section with- two versions. The first is a recorder trio in out having to repeat the entire movement. I would prefer not to hear any which you play the middle part with no metronome taps inserted anywhere once the music has begun; rather, I continuo accompaniment. In the second would prefer that a melodic instrument double the solo line when there is an version, you play the top line with violin on extended rest in the accompaniment. CDs that contain a full performance of the second line along with the traditional each selection followed by accompaniment-only tracks are wonderful, espe- continuo accompaniment. Also included are two duets by P. D. Philidor. In the first cially if the full performance is imaginative, fresh, and sparkling with orna- “Air en Rondeau (Gayment)” from the mentation. But what I really want is the accompaniment. If a full perfor- Deuxième Suite, you will play the bottom mance (as well as an accompaniment) is provided on the same CD, I prefer line with Letitia Berlin on the top part. In to have it placed on a separate track on the CD, rather than as a separate the second duet, “Rondeau” from the channel on the same track. (This is more of an issue with play-alongs pro- Troisième Suite, you play the top part with duced for children.) Ideally, I would like the printed music to contain the Frances Blaker on tenor recorder. complete score, or if not the complete score, the bass line, or at the very least, some bass line cues. If consort selections are included on a play-along DiscContinuo CD, it is nice if occasionally something other than the top line is the missing The second volume in the series, entitled DiscContinuo, contains music written voice. Notes about the composers, the performers, and performance practice between 1642 and 1740, including works are a great addition. Finally, I would love to have some of the appropriate se- by Ortiz, Frescobaldi, Uccellini, Marais, lections recorded twice, once at A = 440 and again at A = 415. To date, I Handel, Lavigne, Telemann, as well as a have not discovered any play-along CDs recorded at A = 415, other than the Scottish tune on a ground called “Johney materials that once were published by Virtual Académie, a company that is Cock thy Beaver.” The pieces are longer no longer in production. and more complex than those included in While using any accompaniment CD, the ensemble situation is reversed Pre-DiscContinuo. Because of this, the ex- in that the soloist must follow the accompaniment. The following quote is tra tracks included on the CD are very from the preface of DiscContinuo: “...the ensemble situation as we are pre- helpful during first attempts at staying with the ensemble. These extra track num- senting it is all wrong! It is practically impossible to play an accompaniment bers are nicely done—when returning to to a non-existing soloist. In a real ensemble situation, we, the continuo play- the beginning of a track, the soloist is tak- ers are constantly reacting to every aspect of the soloist’s playing. On the CD en back to a measure or two before an ear- we have tried to imagine what a soloist might be doing. We have kept the re- lier cadence, thus providing an opportuni- alization modest and hope that you can adjust to our whims.” The DiscCon- ty to listen to the cadence before jumping tinuo staff refers to their realizations as “modest,” yet, the DiscContinuo se- back in. ries is the most daring in the use of tempo fluctuations—rubato, acceleran- The most technically challenging selec- do, a slight holding back here, a slight pushing forward there. The soloist is tion in DiscContinuo is Aria Sopra la Berga- forced to become an intense listener, and concentration cannot waver for an masca by Marco Uccellini. This is very pos- instant. DiscContinuo is also the most daring in the choice of literature, in- sibly the most enjoyable piece I have ever played on a soprano recorder. The soloist cluding selections that have dramatic tempo and mood changes. I believe plays the second voice of this sonata with that the next generation of play-along CDs should be created not only for ex- Michael Sand playing the top line on his vi- tensive rehearsal, but with the possibility of public performances in mind. olin. Nestled among the wild sixteenth- The end result—many more geographically isolated recorder players will be note runs are amusing little call-and-re- able to give the gift of quality early music performances to their communi- sponse passages between the recorder and ties. —S.G. the violin. For experience in French style orna-

12 American Recorder mentation more complex than found in Pre-DiscContinuo, go to the Suite in C Ma- jor by Marin Marais, which opens with a Prelude in French overture form followed by eight shorter pieces. More French styles can be found in Philbert de Lavigne’s Sonata in C Major, “La Baussan.” This sonata ends with a rowdy “Tambourin,” a piece where soloists may feel free to follow the lead of the ensemble and give it a rau- cous performance!

DiscContinuo II The DiscContinuo series has come into its full glory with DiscContinuo II. Al- though this is meant for the more advanced player, staying with the recorded ensemble is generally not a problem. Disc- Continuo II opens up with Telemann’s Trio Sonata in C Major, sometimes referred to as “the heroines,” since the movements are all named after famous women in myths and legends. Perhaps the most difficult entrance in the entire DiscContinuo II is in the “Dido” movement between the Triste and Disperato sections. This entrance is ex- Francesco Turini. The performance notes plained in the performance alert instruc- refer to this piece as “four minutes in hell,” The selections in all three tions; however, it is still very difficult to en- and I am inclined to agree. This piece is DiscContinuo volumes ter perfectly on time, and soloists might meant for performance on a Ganassi so- find creative solutions to this problem prano. The soloist plays the second part include metronome tempo (such as omitting the first two sixteenth along with Michael Sand on the top part. It indications so that players notes of the Disperato section!). is fairly accessible despite tempo changes, Unique to DiscContinuo II is the inclu- until the last page, which is primarily six- can learn the material at sion of vocal music from Handel’s Italian teenth notes (with accidentals thrown in Cantata: Pensieri notturni de filli (known to for good measure) at a rousing tempo. Let the appropriate tempo many as “Nel dolce dell’oblio”). The this one be your challenge for the year! before attempting to play soloist is the obbligato recorder player en- riching the lovely soprano voice of Susan Dowani: General Remarks along with the recorded Rode Morris. A very pleasant surprise for me was the One of my favorite selections in Disc- discovery of the superb Dowani 3 Tempi continuo ensemble. The Continuo II is the Francesco Mancini Play Along CDs created by Professor accurately notated Sonata in D Minor (composed in concerto Drazen Domjanic in Liechtenstein. Do- style with two other treble parts, one wani was formed in 1993, and between the metronome taps that played on recorder and the other on vio- years of 1993 and 1997, the firm used lin). It opens with a lovely Amoroso, con- MIDI accompaniments. Since 1997, Do- precede each movement tinues with a fugal Allegro, then offers a wani has switched to the recording of real are subtle enough so that Largo with much opportunity for orna- musicians, and the recorder world may re- mentation, and concludes with a rousing joice at this decision! Among many play- they aren’t heard in a Allegro. Though technically challenging in along CDs created for a variety of instru- public performance. some spots, it is very easy to stay with the ments, Dowani currently sells ten CDs for ensemble throughout this work. My other soprano recorder and six for alto recorder. favorite in DiscContinuo II is the Bach These CDs present a “kinder, gentler” re- Sonata for Flute and Harpsichord, BWV hearsal system for those attacking a com- 1031 (transposed from E to F major). position for the first time. Each CD begins Phebe Craig plays the exciting harpsichord with a tuning note, followed by a full con- accompaniment with much musical nu- cert performance, all performed by Man- ance, and although you must follow her, fredo Zimmermann on recorder. These are you will still have plenty of opportunity for very pleasing performances and include your own expressive devices, especially in some very interesting, sometimes very the second movement. florid, ornamentation. Harpsichord real- The concluding touch of virtuosity for izations, played by Alexander Puliaev, are DiscContinuo II is an early Italian sonata by quite nice, featuring graceful, rolling

September 2001 13 ment begins with a couple measures of unaccompanied recorder solo, the harpsichord doubles that line on the medium track. On the fast track, the harpsichord will double these measures, but on the repeats, metronome taps will sound in place of the harpsichord. This, of course, elimi- nates any possibility of performance with the CD. Sometimes, these taps will also occur right in the middle of a movement. For example, the first movement of Handel’s Sonata in A Minor contains a series of unaccompanied triplets, and the medium and fast tracks of the CD contain metronome taps in order to guide the recorder player into a perfect merge with the accompaniment. But don’t let my comments about these metronome taps deter you from pursuing these excellent Dowani CDs. Students who are studying advanced ornamentation will gain so many ideas by listening to the florid embellishments on the concert performances.

Woodcock concerto Dowani is the only company that I have discovered that produces play-alongs of recorder concerti (three by John Baston and one by Robert Woodcock). Since the Woodcock C major concerto (DOW 1010) has always been one of my favorites, I will go into more detail on this CD. The first Among many play-along CDs created for a variety of track is the usual tuning note, and the next three tracks present the three movements instruments, Dowani currently sells ten CDs for in a vibrant concert performance—a per- soprano recorder and six for alto recorder. These CDs formance where the articulation in the strings and the recorder complement each present a “kinder, gentler” rehearsal system for those other beautifully. It also features tasteful and interesting ornamentation by Manfre- attacking a composition for the first time. do Zimmerman; in the third movement, he takes difficult sixteenth notes and orna- ments them into even more difficult triplets. The next eight tracks are the slow chords in the slow movements, lead-in dered with additional music sheets con- rehearsal tracks, accompanied by piano scalar passages at repeats, and pleasing or- taining the accompaniment. The accom- only, with the unornamented recorder namentation. Following the concert per- paniment tends to be very steady, which is muted in the background. Since this con- formance, each selection is then presented appropriate for the intended purpose of certo has a 17-measure introduction, there in three gradually increasing tempi. The the CDs. When necessary, each movement is a much appreciated new track number slowest rehearsal tracks retain the solo is preceded by metronome taps. Unfortu- right before the first entrance of the re- line, although this is muted and mostly un- nately, these taps are not notated in the corder. Thus, the first movement contains ornamented. The medium and fast re- printed music, requiring some guesswork three tracks, the second movement con- hearsal tracks omit the solo line. All of the about the number of taps that will sound; tains two tracks, and the third movement longer movements have extra track num- less experienced musicians might confuse contains three tracks. Although metro- bers on the CD, which, similar to Disc- the beat with the subdivided beat. A cou- nome tempi are not given in the printed Continuo, return the soloist to a measure ple of times, the medium and fast tracks music, I estimate that, on the slow tracks, or two before a previous cadence. give a different number of taps; this hap- the first movement is at = 126, the sec- All Dowani CDs come with unedited pens in the Siciliana from Telemann’s Par- ond movement = 35, and the third printed music in foldout sheets; thus, no tita No 5 in E minor as well as the Siciliana movement = 37. These are very hu- page turns in the middle of movements. in the Woodcock Concerto No. 3. mane tempos, where even the fastest of the This music contains the solo line only, but Conceived as rehearsal-only play-along triplets can be sight-read by an upper-in- also serves as an index to the track num- CDs, Dowani is liberal with the use of the termediate player. Next come the eight bers on the CD. All Dowani CDs may be or- metronome taps. Sometimes, if a move- medium rehearsal tracks (still accompa-

14 American Recorder nied by piano only) where the security some of the MMO albums have a “bleed naissance Band (as it existed in 1973) with blanket of the muted recorder in the back- through” or a “leaking” of the solo line that Lucy Bardo, Lawrence Benz, Allan Dean, ground is removed. Now, instead of the can be faintly heard in the background on Ben Harms, and Sally Logemann. This al- muted recorder, we hear metronome taps the accompaniment tracks. However, bum contains 31 lively selections by Prae- during rests in the accompaniment. Tem- while you are actually playing the solo line, torius, Attaingnant, and Banchieri. The pos have been increased, though they are this is not noticeable, and it can come in soloist plays the top line throughout, and still fairly merciful with spot practice. The handy if you should get lost! A recorder will play with Renaissance instruments in- final eight tracks are the “no mercy” fast player who wants experience with Renais- cluding viol, vielle, sackbut, recorders, tracks, where the orchestral accompani- sance rhythms would do well to start in the krummhorns, cornetto, shawm, dulcian, ment returns. Tempi have increased again. comfort of his/her own home with the four rackett, and a variety of percussion. These Now, it is time to spend some serious time MMO recordings that contain Renaissance Renaissance selections are really fun, and a in the practice room! Learning this concer- consort music: MMOs 3356, 3357, 3359, real change of pace, after having played to with this CD is great fun, and my hope and 3360. countless Baroque sonatas with continuo is that Dowani will record more recorder Recorder players should also be aware teams! Concerning the printed music, the concerti in the future. that there are a number of pieces from the Praetorius dances from Terpsichore are The first three Dowani albums for so- recorder repertoire that are listed as discs published in full score, but the other selec- prano recorder (DOW 1001, 1002, 1003) for flute, the Telemann Suite in A minor tions only include the top line. When the are intended for the developing recorder (MMO 3312) and Bach Brandenburg Con- soprano recorder has a brief solo, there is student and contain easier selections very certos No. 2 (MMO 3306) and 4 (MMO no doubling of the melodic line, and no appropriate for younger players. The 3310). metronome taping to assure that the pieces become progressively more diffi- soloist will merge with the ensemble at the cult, and the “Variations on Greensleeves” What MMO CDs have in common correct time, so this is a real test of rhyth- as well as the “Variations on ‘Ah, vous dirai- All MMO CDs begin with a tuning note, mic steadiness! je, maman’” arranged by Manfredo Zim- and the number of tempo-setting metro- Another MMO album released in 1973 mermann are really quite nice and chal- nome taps is accurately notated. A disad- and performed by the New York Renais- lenging for children. vantage is that none of the MMO CDs sance Band (same personnel) is entitled Dowani is an active company that soon come with extra track numbers within Echoes of Time (MMO 3357). This album plans to record and release three trio longer movements; thus, if the soloist becomes with two CDs; CD A contains the sonatas for recorder—the J. M. Hotteterre comes lost, it means going all the way back full performance, and CD B contains the Sonata in C Major, the G. Sammartini to the beginning of the movement. Each of lower three voices only. All of the missing Sonata in D Minor, and the Telemann the MMO releases has its own unique fea- parts are the top line. Thus, if you would Sonata in F Major. In the more distant fu- tures; thus, I will discuss each of the nine rather give the bass line a try, you will be ture, Dowani will be releasing more of the albums separately. playing with the full performance. This is easier pieces for young students. one of the MMO albums that has problems The individual MMO albums with leakage of the solo line onto the ac- Music Minus One MMO album 3356, entitled Renais- companiment CD. You will hear what is Music Minus One (MMO) is a compa- sance Dances and Fantasias, offers the op- supposed to be the missing voice ever so ny with a rich history, founded in 1950 and portunity to play with the New York Re- faintly in the background. But don’t let still run by Irv Kratka. MMO began in the that discourage you from pursuing the al- era of the 78 rpm recordings and grew with bum. It is still great fun, and a great way to technology into LPs, cassettes, CDs and Playing along in public obtain experience with Renaissance CD+Gs (compact disc plus graphics). rhythms in a comfortable setting. All musi- Before using any of these playalong While MMO is keeping up with technolo- cal selections contain complete scores and CDs in a public performance, check gy admirably, the company still makes cas- include pieces from Susato’s Danserye as with the company about any usage re- settes available for those who prefer them. well as Sicker’s Ein altes Spielbuch, includ- strictions. While DiscContinuo and MMO will soon be selling a variable-speed ing such composers as Agricola, Ock- Dowani do not currently restrict the CD player called the Superscope at an ap- eghem, Isaac, Obrecht, Josquin, Brumel, use of their CDs, policies such as this proximate price of $450. With the Super- and Compère. are always subject to change. MMO scope player, students can alter the tempo English Consort Music (MMO 3359), does not object to an occasional re- of any particular movement without affect- first released in 1975, is your opportunity corder player using the tracks for pub- ing the pitch. Since some of the MMO fast to be the only recorder player with the New lic performances. However, there are movements are performed at breakneck York Consort of Viols. This also comes with some restrictions in some circum- tempi, the Superscope might be a very two CDs, one with complete performance, stances where license fees are required valuable tool for those who wish to work and the other missing the top voice. Much (such as the creation of a new CD with extensively with play-along CDs. to my delight, all of the music in this album a track from an MMO CD). Although I Although all of the recorder releases comes with complete scores. Members of never received any type of policy from from MMO were originally recorded the group included Fortunate Arico, Lucy MusicPartner, the CDs themselves decades ago with earlier recording technol- Bardo, Judith Davidoff, Grace Feldman, Al- state: “Unauthorized copying, hiring, ogy, many of them are still quite useful for ison Fowle, Ben Harms (percussion) and lending, public performance, and a student who wants to study a particular Edward Smith (harpsichord). This in- broadcasting of this record prohibited.” composition. One of the problems with cludes some wonderful selections by Cop- the earlier recording technology is that erario, Dowland, Brade, Lawes, Schein,

September 2001 15 Music Minus One Byrd, and Woodcock. Included are “The tracks that omit the second recorder part. Leaves be Green” by Byrd and the “Wood- The complete performances include some will soon be selling a cock ‘Browning’ Fantasy.” Many of the se- ornamentation, though certainly not the lections are enriched with delightful per- florid ornamentation that you will hear on variable-speed CD cussion. In some selections, the recorder some of the Dowani CDs. This was origi- player called the soloist will blend in with the viol players nally released in 1974, and the sound qual- much more easily using a tenor recorder ity on the recording does reflect older Superscope. With it, rather than a soprano. Unfortunately, the recording technology. The printed music leakage of the solo line onto the accompa- for the Sammartini and Loeillet selections students can alter the niment CD is quite prominent on this al- includes both recorder parts, but not the tempo of any particular bum. However, it is still enjoyable just to figured bass. The Telemann trios include play along with the full performance. Many only the top line with no bass line cues. movement without of the selections are rhythmically complex, This album also has some problems with and this makes great rhythm reading and leakage of the solo line on the accompani- affecting the pitch. sight-reading material for those who want ment CD. Regardless, this is still a usable Since some of the MMO more experience with Renaissance rehearsal recording for those who are in- rhythms. teresting in learning this repertoire. fast movements are MMO album 3360, recorded in 1974, MMO 3340 is called 3 Sonatas for Alto performed at breakneck is called Dances of Three Centuries, and Recorder, Harpsichord & Viola da Gamba, contains a collection of dances ranging and includes the Telemann Trio in F Major tempi, the Superscope from the 16th through 18th centuries by (the same trio that is also on MMO 3358), such composers as Joanambrosio Dalza, the Handel Sonata in C Major, and the might be a very valuable Pierre Attaignant, Augustus Normiger, Telemann Trio Sonata in B major. This was tool for those who wish Claude Gervaise, Nicolaus Ammerbach, originally released in 1972 and performed Claudio Monteverdi, Peter Philips, Jacques by the Rameau Trio, which consisted of to work extensively with de Chambonnieres, John Bull, Erasmus Jean Austin on modern flute, Jocelyan Kindermann, Girolamo Frescobaldi, J.J. Chaparro on harpsichord, and Mary play-along CDs. Froberger, Johann Krieger, Johann Kuh- Springfels on viola da gamba. This comes nau, J.G. Böhm, and J. K. F. Fischer. with only one CD, but the accompaniment This album is a bit different from the tracks are separate from the full perfor- other MMO recordings in that there are no mance tracks, so there is no need to adjust full performances. All of the music is in balance to get accompaniment only. The three parts (SAT), and all of the selections album has a very slight bleed of the solo are recorded twice—first minus the top line on the accompaniment tracks for the line and again minus the middle line. two Telemann pieces, but I don’t hear any Those who love to play consort music, but of this on the Handel sonata. There are don’t like to sail on the top part will really some exceptionally expressive moments enjoy this album. The printed music pro- coming from Mary Springfels during rests vides full scores for every piece. Performers in the solo line. Ornamentation of the flute include LaNoue Davenport (recorders, part tends to be minimal. krummhorns, tenor viol), Judith Davidoff Also performed by the Rameau Trio is (treble and bass viol, vielle), and Susan MMO 3341 (like MMO 3340 entitled 3 Evans, (percussion). I am very happy to re- Sonatas for Alto Recorder, Harpsichord & Vi- port that there are no problems with leak- ola da gamba). This album contains three age of the solo line on this album, and sonatas in the key of F major by Handel, again, like the other MMO consort releas- Telemann, and Marcello (Op. 2, No. 1). es, this one is enriched with playful per- There is no problem with leakage of the so- cussion. lo line on this album. The tempi of the fast MMO 3358 is entitled 18th Century Re- movements tend to be very fast for those corder Music and contains two Sammartini who are working on these pieces for the trio sonatas (IX in G major and XI in F ma- first time, so a variable speed CD player jor), two Telemann trios (G minor for re- such as the Superscope may be a useful corder, violin and continuo and F major for tool here. Because of the rapid tempos, the recorder, gamba, and continuo) and the second movement of the Telemann F ma- Loeillet (Loeillet de Gant) Trio Sonata in F jor sonata is recorded twice, once at a “rip Major. Performers include LaNoue and snorting” tempo, followed by a slower ver- Mark Davenport on recorder, Judith sion. The concert performance contains Davidoff on gamba, and Edward Smith on some ornamentation of the melodic line by harpsichord. Again a two-CD set, the com- the flute player, but it is very minimal when plete performances are on the first CD, and compared, for example, to the first move- the second CD contains tracks that omit ment of the Handel F Major on the Dowani the top part of the trio sonatas as well as CD (DOW 2004). This recording has some

16 American Recorder nice harpsichord realizations, especially in at the ends of movements. Generally the Largo of the Marcello. speaking, the tempi of the fast movements WHERE TO tend to be very fast, and tempi for the slow MMO methods movements tend to be just a bit slow for FIND THE DISCS Also recorded by MMO are two method my personal taste. The continuo playing books. The first is called Folk Songs of Many on these CDs is very “straight”—some DISCCONTINUO Nations (MMO 3337, recorded in 1973), arpeggiation of chords on the harpsichord, KATastroPHE Records with the subtitle “A Method for the Sopra- but limited in general. Nor do I hear much 6389 Florio St. no Recorder by Erich Katz.” This is basi- use of expressive devices such as notes iné- Oakland, CA 94618 cally a reprint of the first 16 lessons of the gales on these recordings. The tempi-set- Erich Katz method, (a method that teach- ting metronome taps, and the metronome 510-601-9631 es C and F fingerings simultaneously), and speeds, are not indicated in the Peters www.katastrophemusic.com/ all of the rounds and tunes are recorded on scores, and this can lead to some confu- the CD with the lower voice only. This is a sion for less experienced players. Also, DOWANI 3 TEMPI great find for those of you who know and there are no extra track numbers within the PLAY ALONG love the Erich Katz method book. It is a movements. Although the MusicPartner Dowani AG shame that the top parts were not also CDs are modeled on the Peters Edition, the Industriestraße 24 recorded so that the student could play the harpsichordist is thinning out the realiza- PO Box 146 alto parts with the recorded soprano parts. tions—adding little extra melodic touches The second method book, called You and generally playing the chords at lower FL-9487 Bendern Can Play the Recorder (MMO 3339, record- pitches than they appear in the Peters Liechtenstein, Europe ed in 1974), is a method for adult begin- scores. Phone: +423-370-11-15 ners by Gerald and Sonya Burakoff. The The first MusicPartner CDs I played Fax: +423-370-19-44 CD contains every tune in the book. To lis- through were the four standard Handel www.dowani.com/ ten to the concert performance, set the bal- sonatas: G minor, A minor, C major, and F ance in the middle. To hear accompani- major (MP 4552). Remember those inter- US Distributor: ment only, consisting of guitar and light nal metronome taps that I discussed in the percussion, switch to the left or right chan- Handel A minor sonata on the Dowani Sam Taylor nel (depending on how your speakers are CD? The MusicPartner CD has neither the Phone: 877-536-9264, hooked up). Performers include the au- metronome taps nor doubling of the re- or 406-829-3634 thors on recorder as well as Sam Brown corder line during these unaccompanied Fax: 877-636-9264 and David Spinozza on guitars, and George triplets. Consider this another test of your Duvivier on bass. A student who has al- rhythmic steadiness. In the same sonata, Also distributed by ready mastered the material in this method the second movement is accompanied by Magnamusic Distributors, Inc. on soprano might think about using it to an enjoyable lute stop on the harpsichord. P.O. Box 338 learn “alto up,” since some of the melodies Concerning the lovely Larghetto from the and accompaniments are quite nice. C Major sonata, the MusicPartner accom- 74 Amenia Union Road paniment has a few arpeggiated chords, Sharon, CT 06069-0338 MusicPartner but in general sounds “punctuated” with Orders: 888-665-2721 MusicPartner in conjunction with Pe- blocked chords. In contrast, the DiscCon- Inquiries: 860-364-5431 ters Editions sells a series of six accompa- tinuo recording of this movement (at a sig- Fax: 860-364-5168 niment CDs all for alto recorder, seven if nificantly faster tempo) is more fluid and www.magnamusic.com you include Bach’s Brandenburg Concerto more flavored with arpeggiation. No. 5, which was written for transverse I had a great time playing along with the MUSIC MINUS ONE flute but could be played on a voice flute. MusicPartner accompaniment to Tele- The scores and CDs can be purchased ei- mann’s Suite in A Minor (MP 9438) ac- Music Minus One, Inc. ther separately or together. However, for companied by the Polish Chamber Phil- 50 Executive Boulevard these selections, there is no package dis- harmonic Orchestra on modern instru- Elmsford, NY 10523-9921 count for purchasing the printed music ments. This CD could use some extra track Phone: 800-669-7464, or and the CD together. But players do have numbers in the longer movements, espe- 914-592-1188 the choice of reading the recorder part or cially between the two Minuets and the www.musicminusone.com the full score. Like DiscContinuo, Music- two Passepieds as well as at the trio section Partner CDs are accompaniment only—no of the Polonaise. This suite is marketed on MUSICPARTNER complete performances are included. the MusicPartner homepage for flute, but Recorded in the early ’90s, the digital the CD itself says “blockflöte (Flöte).” C.F. Peters Corporation sound on these MusicPartner CDs is cer- The Brandenburg Concerto No. 5 (MP 70-30 80th Street tainly respectable. The first track on the 4414), performed by the Sinfonietta Köln, Glendale, NY 11385 CD presents a tuning note. Like the is great fun for sight-reading with a voice Phone: 718-416-7800 Dowani CDs, practicing with these accom- flute. Contrary to most of the MusicPart- Fax: 718-416-7805 paniments is not unlike practicing with a ner CDs, this one is not performed with www.edition-peters.com/musicpartner/ musical metronome—an extremely steady rock-steady metronomic regularity, espe- beat with sometimes only a hint of a ritard Continued on page 38

September 2001 17 Point of View Romantic Music for Recorder Ensemble:

Why Not?by Thomas E. Van Dahm

VER THE COURSE of the past few is not. It seems that this attitude is shared these works are appearing in- Odecades, we recorderists have been by a number of publishers as well. creasingly in programs and the beneficiaries of substantial growth in Fortunately, this attitude seems to be recordings by professional both the number and the variety of selec- fading. Not only are more and more “non- recorderists. However, for some tions available for recorder ensembles. We traditional” kinds of music being pub- reason, this loosening of the resis- now have access to published music for al- lished, as we tance to different kinds of music for most any taste: traditional Renaissance observed recorder ensembles has not thus far and Baroque, jazz, pop, ethnic, avant- earlier, extended appreciably to Romantic- garde, country-western, “oldies”—all of but era music. these and more. True, some of these selec- It is also possible, secondly, that Ro- tions seem a bit ill-suited for the recorder mantic music tends in the minds of some (almost like an arrangement for tuba of to be identified with loud, bombastic, “The Bell Song,” from Lakme!), but this ac- complex music à la Berlioz, Mahler, et al. tivity surely demonstrates vitality and in- But surely this is a misconception. For ex- novation in the recorder music field. ample, Liszt and Berlioz composed much One large “availability gap” remains, “gentle” music, and there are lovely choral however: music of the Romantic era. There compositions by Schubert, Brahms, Men- is only a relative handful of selections in delssohn, and other Romantic composers print by 19th-century composers arranged that are most suitable for recorder ensem- for recorder ensemble, and this ble. Some organ and piano works are number is growing at a very slow easily arranged, in part or entirely, for pace. David Lasocki, in his annual FROM RECENT ISSUES OF AR: recorder ensemble. review article, “The Recorder in Just as was the case for the recorder Print” (AR, May 2001) demon- “I have to say, that even if I’m playing the enormous music of the Renaissance, “[b]oth the strates this point when he divides repertoire of the recorder, there still remains a large solo lied and the choral song [in the the section on “Repertoire” into just and very important repertoire that you are missing. Romantic era] were composed pri- two parts, “Early” and “Modern,” And what you find with a lot of people such as Frans marily for informal use on social mu- indicating that nothing much for re- Brüggen, John Eliot Gardiner, and Nikolaus Harnon- sical occasions—the famous “Schu- corder happened in the time-period court, is that they often turn to this repertoire, to bertiad” evenings are the prime between! Mozart, Beethoven, and Schubert, and others.” example—but many a German fami- Since Romantic-era music is ar- (From an interview of Matthias Weilenmann ly and friends, professional or ama- guably the staple of most orchestral by Eric Davis, May 1995, p. 14) teur musicians, enjoyed this music” repertoires and an important com- [From the notes by Edward Tatnall ponent of solo and chamber music “We who have played 19th-century repertoire on Canby on the label of the Nonesuch programs, this gap surely calls for an other instruments often don’t realize how much record “Choral Songs of the Renais- explanation. And several possible recorderists might enjoy it as well.” sance Era”]. So it is not surprising reasons have been offered. One is (From a Music Review by Constance Primus of that this kind of music, like that of the the resistance on the part of some to 471 Tunes for Soprano Recorder, May 1997, p. 30) Renaissance, can ususally be adapted music that was not written for re- for modern recorder ensemble and corders or at least played by re- “Since there was virtually no original music com- enjoyably played. corders several hundred years ago. posed for the recorder in the entire Romantic era, The third possible reason for the Thus Renaissance music is accept- modern transcriptions from this period should be lack of Romantic music for recorders able, as is contemporary music welcomed.” (From a Music Review by Piers Adams is a variant of the old “chicken-egg” composed expressly for recorders; of several publications, March 1993, p. 37) problem. Publishers of recorder mu- but music transcribed for recorders sic, most of which are small-scale

18 American Recorder businesses, are understandably hesitant to pub- lish this music unless there is a demonstrated demand for it. But a prospective purchaser of recorder music, even if he or she would prefer to buy, say, an arrangement of a Schubert part- song if it were available rather than yet 1) a another edition of a “Gagliarda” by love Giuseppe Mozzarella, has no satisfacto- of this mu- ry way of making this preference sic by the audience for serious music, 2) known, so must buy what is offered. suitability of some of this music for There are lovely choral Hence, a virtual impasse. adaptation to recorder ensembles, 3) in- compositions by Schubert, There is evidence, however, that po- creasing interest on the part of leading tential demand for Romantic recorder recorderists in expanding the availabili- Brahms, Mendelssohn, and music exists, and this demand would ty of Romantic music for recorders, and other Romantic composers undoubtedly grow if more of this music 4) a growing willingness on the part of were available. In these very pages, one publishers of recorder music to include that are most suitable for can find endorsements over the years for Romantic-era music in their offerings. playing Romantic music on the recorder As more publishers begin to offer Ro- recorder ensemble. (see box). mantic music for recorder groups and as Some organ and piano A few publishers, bless ’em, are will- recorderists gain familiarity with this ing to take a chance: Arcadian Press is music and an appreciation of its possi- works are easily arranged, one, and also Moeck, Sweet Pipes, and a bilities, this gap should gradually fade few others. Moreover, the ARS has pub- away. in part or entirely, for lished Bruckner’s “Ave Maria” and my recorder ensemble. own “Two Brahms Lieder” in its Mem- Thomas E. Van Dahm is a member of bers’ Library. Gradually the numbers the American Recorder Society and direc- are growing, albeit slowly. tor of The Recorders of Merrywoode in In summary, all the elements are in Kenosha, Wisconsin. He has published a place now, I believe, for a renaissance ac- number of arrangements of Romantic mu- tually, a “naissance,” a birth of music for sic for recorder, including “Two Brahms the recorder from the Romantic period: Lieder” for the ARS Members’ Library.

September 2001 19 Composers/Arrangers Composing a Fugue for Recorders

by Glen Shannon

Y COMPOSITION STYLE has acquired tremities of the recorder range. The ex- tion and take up the subject according to M the label neo-Baroque. Though it is ample subject, from my Prelude & Fugue the key schedule, while one or more modern music, it generally follows the No 1 in D Minor, spans one octave and a countersubjects continue alongside, un- rules of voice leading, harmony, and half-step, and only the lowest note is til all voices have entered. counterpoint from the 17th and 18th cen- weak. I get away with it because the weak One of my favorite parts of the exposi- turies (but modern times allow me to re- note is part of a slurred group. I also use tion is the codetta, an extra interplay be- lax those rules). My approach to compo- one of my favorite tricks when writing tween voices before the next entry of the sition uses chords, cadences, and simple fugues for recorders: the 2nd, 3rd, 4th, subject. Codettas are optional, but I like rhythms as building blocks, and derives and 5th entries of the subject are all fin- them because they are an easy way to pre- its interest from creative use of scales, pat- gered the same way, and because they are pare the key for the next entry while terns, and counterpoint (intertwined played on successively larger recorders, maintaining interest. In measures 16-21 melodies). I use familiar chords and avoid they are a fourth or fifth down from each of my example, I have written a codetta dissonances on strong beats unless they other. between voices 1 and 2, before the third resolve quickly, usually at cadences. Like Second, I like to be sure there are one entry of the subject (another of my fa- the genuine Baroque music that inspires or two “hooks” in the melody that I can vorite parts). I recommend putting cue it, my neo-Baroque music is very key-cen- exploit. In my example, the opening three notes at the codetta into the extracted tric, with non-threatening intervals and a notes form a little pick-up motif that I use parts to aid in sight-reading, because a focus on melodic and contrapuntal as mortar to keep the music unified. codetta may throw off the counting. details. Through repetition of the “hook,” I ex- One of my favorite Baroque forms to tend the entry in the bass and build up Episodes and Middle Entries write is the fugue (Latin fugare “to tension that gets released at the cadence. Next, episodes and middle entries chase”). This is like an elaborate round, lead up to the final section. An episode is with stricter rules but many creative op- The Exposition a digression linking two statements of the portunities. Fugues are easy to write be- A fugue begins with the exposition, subject. Here you can develop a counter- cause their imitative nature provides where you introduce the subject and re- subject, capitalize on part of the subject, ready-made material for musical expan- lated material you will develop later. The or use completely new ideas. You can get sion: Steal from what you’ve written ear- example fugue, a modified excerpt from away without much extra work by recy- lier, and if you get stuck you can just the original, presents the exposition with cling, repackaging, and reusing what throw in the subject (main melody) annotations, and at the cadence I at- you’ve already thought up. Rewrite an somewhere. tached the final two measures of the idea but switch the voices around—if it original fugue. still sounds good, you have invertible The Subject The subject is announced alone. The counterpoint, one of the hallmarks of The subject is the melody upon which second entry, or answer, follows in the fugal writing. the entire fugue is based. When creating second key (usually a fifth up or fourth When an episode has run its course, it a subject for recorders, the melody down), while the first voice continues is time for a middle entry of the subject, should fit on all sizes of recorders and with new material called the countersub- which should appear at least once in its should not depend on notes in the ex- ject. Subsequent voices join the conversa- relative major/minor key (for example, A minor if the original key is C major). Also, try it with a new countersubject, in a new This is the second in a series of articles featuring the works of composers and key, or against itself in another voice arrangers who write for the recorder. Each installment will be accompanied by closely behind the first (a technique discussion of the the composer’s own working methods, including performance called stretto) for interest. considerations that went into creating the selected piece of music. It is hoped Glen Shannon is president of the East that the considerations that composers and arrangers have to keep in mind will Bay (CA) Recorder Society and a member of be of general interest to all AR readers, who will also be able to add to their the Association of Recorder Composers and music collection a series of performable short pieces or excerpts. Arrangers (ARCA). His Prelude & Fugue Stan McDaniel, Series Editor No. 1 in D Minor won first place in the Chi- cago Chapter’s 1997 Composition Contest.

20 American Recorder Fugue Excerpted and condensed from Prelude & Fugue No. 1 in D Minor Glen Shannon (1966-) Andante - = 92 D 5 D D D f *N CD D D D D D D D D D D D D D D D D D D D D D D 0D Q D S1 g D D D D D D Subject

10 Q D D D D 15 D f * D D D D D0D D0D D D D D D D0D D D D D D D D D D D D D D D D D D0D D D D D D D D D S1 DD 1st Countersubject Codetta *N C D D D D 0D D D 0D D D D D D0D D D D D D 0D D D 0D D Q S2 g D D DD D D D DD D 0D Answer D D G 20 D D D D D D D D D D D D D D D D D D D D D D f * D D D D D D DD D LD0D D D D D D D D D D D D L D D D D DD D S1 D D D D D 2nd Countersubject D D * D D D D D D D D D D D D D D D DD D D D D D D D D0D D D0D D D D S2 Q D D DD D D D D D D D D D D D D Free melody D *? ? ? ? NCDD D D D D D D D D A g D DD D D 3rd entry of Subject in original key 25 D D D D D D D 6 Q Q 30 D D D f * D D D D D D D D D D D D D D D CN CD D D D S1 D D D D * D CLD D D D D D D D D D D D D0D D D D 0D D D D D 0D D S2 D D D D D D D D D D D D D D D D 3rd Countersubject Q D * D DD D D D D D D D D DD0D Q D D D D D D0D D0D D D D D D D D D0D D D D D A D DD 1st Countersubject (modified) *????NCDD D D D 0D D D 0D D D T g D DD D D 4th entry of Subject in 2nd key

D Q D 35 D . D D Q D D D D D D 40 f * D D D D D0D L 0D D 0D D D D CN CD D D D CN S1 D DD D G D * D 0D D D D 0Q CN C0D D D D Q D D CN CD D D D D0D CN S2 D DD D D D D D D D D D * C Q D D D D D D D D D D D0D 0D D D D D D D D D D D DD D D D D C D D D D A D D D D D D D Motivic repetitionD D of the “hook” D * D D D0D D D D D 0D D D 0D D Q D D D D D CN D D T D DD D D D D D D D 3rd Countersubject ?? ? ?NCDD D D D D D D D D D B g * D DD D D Final entry of Subject in original key

Motivic repetition of the “hook” ! D D D D D D D D 45 D D D D Q G . & f *C D D DD D D D D DD D D D D D D D Q D CCL Q D LC S1 D D D poco rit. & *C D D D DD D D D D D D D D C D C D C D C D C Q D Q D D D .L C S2 D D Q D D Q Q Q Q Q Q Q Q D D D D pocoD rit. D Q &D * D C Q Q L CLD LC A D D D D DMotivic repetition of the “hook ” poco rit. &. * D CN N D D D D D DD D D D D DD D D D D DD D D D D D D C D D L . Q Q D LC T D D D poco rit. & D DD D D D D D D D D D D DD D D D L D D Q Q D LC B g * 0D D D D D D D D D D D D D poco rit. ©Screaming Mary Music. All rights reserved. www.screamingmarymusic.com First big Cadence! ARS members may, for their own use only, make photocopies that include this copyright notice. A MIDI playback of this piece is available in AR On-Line at . MUSIC REVIEWS ______Christmas chestnuts, Australian studies, modern works from ______England and Germany, and a number of London Pro Musica editions

LIEDER ZUR WEIHNACHT, ARR. EGON simple two-part instrumental counter- 1621), and Robert Pearsall (1795-1856). ZIESMANN. Moeck 726/727 (Magnamu- point. Although the Preface has been “Joseph Lieber Joseph mein” (Joseph, sic), 1999. SAT, sc 10 pp. $8.00. translated into English, there is no transla- Dearest Joseph Mine), a popular German FIVE CATALAN CAROLS, ARR. M. HALL. tion of the titles or texts, so this collection crib song using the melody of an older Hawthorns Music RA 140 (Magnamusic), is largely limited to singers who know Ger- Latin hymn “Resonet in laudibus,” is in 1999. SAT, sc 11 pp, pts 4 pp each. $9.50. man. The only two songs familiar to many five parts in Walter’s 2 Christmas Hymns 2 CHRISTMAS HYMNS, BY JOHANN Americans are “Kommet, ihr Hirten,” a Bo- and in eight parts (high and low choirs) in WALTHER. London Pro Musica LPM 516 hemian carol known to us as “Come, All Ye the Schröter’s 3 Christmas Hymns. In Wal- (Magnamusic), 1998. 5 voices or instru- Shepherds,” and “O du fröhliche,” which ter’s five-part arrangement, dating from ments, sc 7 pp, 7 pts (2 extra in alto clef) 2 is the Sicilian hymn “O Sanctissima.” The 1524, the top three parts and the lower pp each. $7.00. pieces are pleasant, though, played on just three parts (the middle part playing with 3 CHRISTMAS HYMNS, BY LEONHART recorders, but they are so very short that both choirs) often play/sing in dialogue. In SCHRÖTER. London Pro Music EML 358 for performance they need to be repeated Schröter’s setting of 1587, the melody al- (Magnamusic), 1998. 8 voices or instru- several times, preferably with some varia- ternates between the high and low choirs ments, full sc 12 pp, 8 split scores 4 pp tion in instruments or with added orna- when they are not playing together. each. $11.00. mentation. “Nun komm der Heiden Heiland” NU KOMM DER HEYDEN HEYLAND, The Five Catalan Carols, also arranged (“Savior of the Nations, Come” in modern BY MICHAEL PRAETORIUS. London Pro Mu- for SAT recorders but without optional hymnals) is an advent chorale attributed to sica LPM 517 (Magnamusic), 1998. 6 voic- voices, provide a worthwhile and achiev- Martin Luther based on the chant “Veni re- es or instruments, sc 4 pp, 9 pts (3 extra in able challenge for somewhat more ad- demptor gentium,” here set in five parts by alto or bass clefs) 1 p each. $5.50. vanced intermediate groups. With a lot of Walther and in six parts by Praetorius. IN DULCI JUBILO, BY ROBERT PEARSALL variety in tempos and moods, they work Both composers set the melody in imita- (1834), ARR. GREG LEWIN. Hawthorns Mu- well together as a suite, ending with the tion throughout, but the Praetorius ver- sic RA 141 (Magnamusic), 1999. 2xSATB, lively “Fum, Fum, Fum.” The other four sion, composed some 80 years later, dis- sc 12 pp, pts 2 pp each. $9.50. carols in this collection are unfamiliar to plays more complex polyphony. SUITE ON EARLY CAROL TUNES, BY me, so it is disappointing that the titles are “In dulci jubilo,” a melody dating from PETER SEIBERT. PRB Productions, Contem- not translated into English. The arrange- the 14th-century often sung in English to porary Consort Series No. 36, 2000. SATB, ments are well crafted with the use of imi- “Good Christian Men, Rejoice,” is set for sc 14 pp, pts 4 pp each. $10.00. Extra set of tation, solis-tuttis, and echo effects, mak- double choirs by both Schröter and parts $4.00. ing each part interesting. Pearsall. Schröter hides the familiar HOLIDAY MEDLEY: ROASTING SOME For larger ensembles, with or without melody in the altus (the part below the top OLD CHESTNUTS IN NEW FIRES, BY voices, here are some early settings of old part) of both choirs and wraps it in elegant LANOUE DAVENPORT. Landmark Press Spe- German Christmas hymns by Johann counterpoint. Pearsall (a 19th-century cial Editions LP SE-1 (415 E. Fir Ct., Walther (1496-1570), Leonhart Schröter English antiquarian, composer, and early Louisville, CO 80027; ph 303-543-8695 ), (1532-c.1600), Michael Praetorius (1571- advocate of the revival of Renaissance mu- 1998. SATB, sc 8 pp, pts 2 pp each. $10.00. sic) intentionally composed in the style of Reviewed here are some early and mod- the 16th-century, as is evident in his setting ern settings, in a variety of styles and diffi- The Five Catalan Carols of “In dulci jubilo.” This is the version that culty, of traditional Christmas songs, in provide a worthwhile and is sung in Cambridge, England, by the three to eight parts. The two sets of trios King’s College Choir in their Festival of (Lieder zur Weihnacht and Five Catalan Car- achievable challenge for Nine Lessons and Carols. Originally for so- ols) are modern, but harmonically conser- somewhat more advanced lo octet and five-part chorus, this tran- vative, arrangements of folk carols. scription for recorders (without voices) is The Lieder collection, translated “Songs intermediate groups. for two equal choirs, with parts often dou- for Christmas,” is intended for sing-alongs With a lot of variety in bled, and makes use of solis and tuttis for and is easy enough for lower intermediate tempos and moods, they dynamic effects. The Pearsall setting is sim- recorder ensembles. Most of these eight pler in style than the Schröter, but it is pieces begin with a short introduction by work well together as a longer, having four verses plus a coda. the three recorders to set the pitch; then suite, ending with the The third piece in the Schröter collec- the singers join in on the melody, which is tion is a double-choir setting of the 16th- also played by the soprano recorder over a lively “Fum, Fum, Fum.” century melody “Ein Kind geborn zu Beth-

22 American Recorder lehem” (Puer Natus). In this very short TOUT DE SOUR, BY ELISABETH MIDDLE- piece the initial phrase is sung first by the TON. Orpheus 035 (Orpheus@orpheus- Mollenhauer high choir, then repeated a fourth lower by music.com.au), 1999. SATB, sc 8 pp, pts 3 the low choir, and finally both choirs join pp each. Abt. $7.50 + P/H. Recorders for the last phrase and Alleluias. DARK GREY, SPUN GOLD, BY BEVERLEY For the more adventurous, we have two LEA. Orpheus 048, 2000. SATB, Sc 5 pp, quartet collections by composers who are pts 1 p each. Abt. $7.50 + P/H. Free presale better known in the recorder world as STARLESS NIGHT, HIDDEN FLAME, tuning/voicing workshop teachers and as conductors of BY QUENTIN S. D. GRANT. Orpheus 043, large groups of early instruments. Peter 1993. TT (both doubling pn S’o) and BB, Sent on approval Seibert is the director of the Port Townsend Sc 12 pp, pts 7 pp each. Abt. $9.50 + P/H. Early Music Workshop and longtime musi- Tout de Sour, by Australian composer Lowest US Prices cal director of the Seattle Recorder Society. and educator Elisabeth Middleton, is a The late LaNoue Davenport was a pioneer companion piece to her work Tout de Award-winning American recorderist who performed for Sweet, also for recorder quartet (Orpheus Denner models: years with the New York Pro Musica, and 013). Like Tout de Sweet, this work is in many of his compositions, arrangements, three brief movements, each with expres- Strong lows, and transcriptions are now being pub- sion markings relating to sourness— easy highs lished by his son Mark (Landmark Press.) “With acerbity,” “With less acerbity,” and Both Seibert’s Suite on Early Carol Tunes “With more acerbity.” Throughout the Modern alto and Davenport’s Holiday Medley are origi- piece, “biting” sonorities and dissonances nal instrumental compositions based on are used to good effect. There are no ex- New Canta series pre-existent melodies. Both explore mod- pression or phrasing marks except for dy- ern harmonies but avoid avant-garde tech- namics. It is moderately easy, and the en- niques and notation, so they are quite ac- semble texture is almost entirely homo- Bill Lazar cessible to amateur recorder groups. phonic. It would be an excellent choice for Seibert’s Suite has five movements, a group wanting to “expand their harmon- [email protected] each based on a Medieval carol, including ic palate” slightly without trying anything (408) 737-8228 three familiar to many recorder players: too difficult. Score and parts are easy to http://members.aol.com/ “Personent hodie” (On This Day), “Now- read. There are no page turns except be- jblazar/mollenhauer.html ell—Tydynges trew” (Salutation Carol), tween movements. and “Puer nobis nascitur” (Unto us a Boy From another Australian composer, is Born). The composer makes use of Me- Beverley Lea, comes Dark Grey, Spun Gold, dieval effects such as ostinatos, drones, a two-minute long, two-movement work open and parallel fifths, but players need for quartet. The names of the two move- not be bored for long because, as stated in ments are those of the two halves of the ti- the Preface, “Melodic material moves tle. “Dark Grey” is rather slow whereas among the parts, giving each player a “Spun Gold” is quite fast. The only difficult chance to shine from time to time, and techniques are the numerous short glis- there is some fun in discovering new har- sandi that occur throughout both move- monic implications of the tunes.” The last ments; however, the composer provides movement presents the most challenge special fingering suggestions to help play- with three quarter notes against two, cul- ers execute them. Other than that, the con- minating in a flurry of sixteenth-note runs tent is quite straightforward. Copious ar- in all parts. ticulation, phrasing, and dynamic mark- The subtitle, “Roasting Some Old ings are given. To this reviewer, the work Chestnuts in New Fires,” of Davenport’s seems a bit “slight”; the material has more Holiday Medley, is quite apt because this potential for development and further ex- suite is based on three well-worn carols ploration than what is given. However, it (“God Rest Ye, Merry Gentleman,” “Angels would be effective in a setting where a very We Have Heard on High,” and “Good King short contemporary work with contrasts is Wenceslas”) with “some re-thought har- needed. The score and parts are clear and monies and a few little variations.” Each readable. movement begins “more or less straight- Starless Night, Hidden Flame, by com- forward except for harmonization,” then poser Quentin Grant, makes extensive use the “fires” begin with chromatic passages, of minimalist compositional techniques. broken-up melodies, sixteenth-notes that The work is eight minutes long and is cast cascade through the parts, and startling loosely in three sections within one con- harmonies. Both the Seibert and Daven- tinuous movement. In the opening sec- port pieces are great fun to play and will tions, the two basses play extended drones amuse sophisticated audiences. while the two tenors play interlocking re- Constance M. Primus peating patterns on top. At times the drone

September 2001 23 MUSIC REVIEWS (cont.)

texture prevails, with all four players play- music. She has been influenced very much ing interlocking ones. Then the interlock- by the teachings of Carl Orff and Dalcroze ing fragments return. This leads to a short and blends their ideas in with her own. The section marked “with an aura of sensual music she has written up to date has al- mysticism,” in which a melody and ac- ways been for her students to perform. companiment texture prevails within a Rodney Waterman is a recorder special- slow pulse. For the second half of the work, ist from Melbourne who graduated from the tenor players switch to sopranino re- Melbourne University with first class hon- corders, and the opening textures are ex- ors. His performing repertoire includes plored again with the drones and frag- early, Baroque, folk, contemporary, and ments changing voices. Some interesting Brazilian music. sonorities are achieved by means of the Tallis Fiore, from Newcastle, has been range contrast of the sopranino and bass composing for over twenty years. Since instruments. Ensembles that are not used 1992 he has taught at a Rudolf Steiner to minimalist works may find they need a School and within that environment has conductor at first to assist in the pulsing initiated a diverse musical program. He di- and counting. The music itself is not diffi- rects a brass band, a wind octet, and a cult, although good breath support and chamber orchestra. legato tonguing are required throughout. Benjamin Thorn has contributed five This is a good piece for groups interested in studies to this book. The first, entitled minimalist music. For others, it might like- “Study on La Romanesca,” has a fairly ly become rather boring quite quickly. This straightforward melody with an implied is especially true for the second bass play- ground bass harmony. The second Thorn er, who plays almost nothing but long study is called “Hexatonic Study for a Bel- drones for the entire duration. The score is ly Dance.” This delightful, fun-to-play Honeysuckle Music in rather small print, but is readable. Parts melody is created with a six-note scale (D, are easy to read, and page turns are made E , F , G, A , B) and is in 7/8 time. Heavy Recorders & accessories during extended rests. usage of the half steps as well as the aug- ... Carson P. Cooman mented second give this melody its “bel- ly dance” flavor. The melody is trans- Music for recorders & viols 12 INTERMEDIATE STUDIES FOR posed up a major third and transposed THE TREBLE RECORDER, BY BEN- again up a tritone. You are instructed to Jean Allison Olson JAMIN THORN, ZANA CLARKE, MIGGS COG- play this “seductively” and with each rep- 1604 Portland Ave. GAN, RODNEY WATERMAN, AND TALLIS etition of the melody to play faster. St. Paul, MN 55104 FIORE. Orpheus Music OMP 044 (Box The next Thorn piece is called “Study 651.644.8545 1363, Armidale NSW 2350, Australia, for Leaps and Double Melodies.” As the [email protected] [email protected]), 2000. title implies, intermediate players will get A rec, 12 pp. Abt. $8.00 + P/H. valuable practice playing very wide as- 12 Intermediate Studies for the Treble Re- cending and descending intervals, as well corder contains selections by five Aus- as practice bringing out both parts of a tralian composers (see above). Benjamin compound melody. Then comes Thorn’s Thorn has composed numerous works for “Study for a Jig,” an amusing, jolly little Courtly Music recorder as well as vocal, choral, and music piece in the typical 6/8 “gigue” meter. theater works. His Voice of the Crocodile is The final Thorn study is called “Study Unlimited considered the first great work for bass re- in Alternate Fingerings.” Because the tar- 800-2-RICHIE corder of the 1990s. get audience for this book is the interme- Zana Clarke is active in recorder per- diate player (who may or may not be (800 274-2443) forming, teaching, and composing. She aware of the intended alternate finger-

has toured throughout Australia and New ings), I feel that this study would be bet- www.courtlymusic.com Zealand and has recorded several CDs and ter served if a fingering chart had been in- "Everything for the recorder performed in ABC broadcasts. She teaches cluded. enthusiast, or those who recorder full time in Armidale NSW, where Zana Clarke has contributed “Peb- she directs the Batalla Famossa Recorder bles,” an interesting piece that explores would like to be." Ensemble. the upper range of the recorder by climb- Fine wood and plastic recorders, sheet Miggs Coggan lives in Armidale, NSW, ing higher and higher in sequential pas- music, method books, play-along CDs, and has worked with children for many sages. accessories, workshops. years, teaching classroom music, creative Miggs Coggan has contributed one dance, recorder, piano and early childhood piece entitled “Come Into My Study,

24 American Recorder Son!” The rhythm of this piece is based GECKO, BY GARY MONGER. Orpheus pecially like the final measure, which is on a poem with the same title about a fa- Music OMP 029, 1998. S rec, pt 1 pg. Abt. an echo effect separated by a 5/8 measure ther trying to instill the values of the $5.00 + P/H. of rest. grandfather onto the son, with words like Gary Monger, the composer of Gecko, “Before he had his breakfast he’d be out was born in Sydney in 1973 and studied CAPPUCCINO BREAK, BY CAVIN chopping wood. No one said he should. composition at the University of Sydney. ADAMS. Orpheus Music YCS 008, 2000. T He just did it! He just did it!” When the In 1996, his ensemble piece Red Rocks rec and pf, sc 4 pp, pt 1 pg. Approx. $5.00 text and the music are compared, the mu- and Dolphins was the runner-up in a radio + P/H. sic becomes humorous, especially in the competition for young composers. He Cavin Adams is currently a student at “He just did it!” sections. teaches music part time in a school and Melbourne University, studying both re- Rodney Waterman has contributed arranges musicals and band music for corder and oboe. He was born in two interesting pieces entitled “Grass schools. Christchurch, New Zealand, in 1982 and Tree Study No 1” and “Grass Tree Study Gecko is a one-page composition for started learning the recorder at the No 2.” The first opens up by exploring the solo soprano recorder that can be per- Christchurch School of Music at the age descending tritone between b' and f'. formed in less than a minute. The rhythm of seven. He played with the school’s Then it goes on to explore the stratos- is complex, using constantly shifting time most senior recorder group, the phere of the alto recorder’s range, ending signatures, syncopation, and some addi- Christchurch Youth Recorder Ensemble, on a d'''', not the most pleasing note on tive rhythms. It has a key signature of one until 1999. In January 2000, Cappuccino most alto recorders! The second study sharp, starting on a B, ending on a D, and Break won the under-18 composition sec- explores the difficulties involved in jump- in between using every note in the chro- tion of the Third National Recorder Com- ing back to low F from various intervals, matic scale. Technically speaking, this petition at the Call of the Four Winds In- many of them quite wide. The piece also could be learned by an upper intermedi- ternational Recorder Festival. explores shifting time signatures with the ate player. The range is from low D to high This is a jazzy piece for tenor and pi- eighth note held constant. C, one whole step short of a two-octave ano that sounds like its title. With a range Tallis Fiore has contributed three so- range. There is one measure of flutter of two octaves plus a major third, it gives los. “Recorder Solo 1” is an appealing tonguing and one easy-to-play double my tenor a workout, including some high study that explores various transposi- stop. The tempo marking is = 128, but notes never used before! Although the tions of the Dorian scale. It contains some players who are less secure with complex performing instructions state “cool and wide ascending and descending leaps, rhythms might need to set their metro- relaxed,” it is fairly complex rhythmically descending seventh chords, repetitive nomes to the eighth note. and uses slides and flutter tonguing, and sixteenth-note patterns in ascending half This piece almost seems like a tran- includes three sections where you can ei- steps, as well as winding sequential pas- scription of an improvisation, scurrying ther play what the composer has speci- sages. “Recorder Solo 2” is a nice study around much like a lizard (thus the title). fied or go off on your own improvisation- unified by an attractive theme using dot- The main organizational principle is mo- al frenzy. Since two of these are towards ted rhythms as well as triplets. This tivic development—reminiscent of Cop- the end, the performer has been set up theme undergoes various transpositions land or Schoenberg. The composer takes with many wonderful ideas that could and other transformations, alternating a motivic shape, manipulates and ex- easily blossom into an improvisation. But with work in sixteenth notes and gradu- tends it, thereby “growing” the piece the material that the composer has writ- ally widening intervals. “Recorder Solo 3” from one idea to the next. At the begin- ten is also great. Such a choice to make! is composed in C minor, but when a sur- ning, most motives are based on “quartal The piece ends with a “non-optional” im- prise D sneaks in, the flavor changes to C harmony” associated with Copland. Lat- provisation against the specified piano Phrygian. Later, a G leads to a cadence in er, there are some whole-tone scale refer- accompaniment. This is a short piece (78 B minor. With many flats and sixteenth ences. I would call this piece “post-tonal” measures total), but packed with interest- notes to deal with, this piece, labeled “Al- or perhaps “freely tonal.” ing melodic and harmonic ideas. There legro,” is fairly difficult for a developing I liked it the first time I played it, and I are no ad lib sections in the piano part, intermediate player, but good experience. like it more upon each repetition. I enjoy and it can be sight-read by a pianist with Overall, this book of studies meets its the clever development of motives and es- a good sense of rhythm. This is a very target audience of the intermediate play- valuable addition to the somewhat limit- er admirably well. An advanced player ed repertoire of original compositions for might be able to sight-read right through Gary Monger’s Gecko tenor recorder and piano. the book, but an intermediate player will almost seems like a Susan Groskreutz grow in many ways by studying these pieces, which are quite attractive in their transcription of an LA MATIGNON (PREMIERE GENTI- own right. They are not the type of stud- improvisation, scurrying LESSE, OP. 33)(1731), BY JOSEPH BOD- ies that introduce one new concept at a IN DE BOISMORTIER, ED. CHARLES NAGLE. time, such as the Rooda exercises. Each around much like a lizard Cheap Trills (Magnamusic), 1998. AA, bc, piece will introduce many new chal- (thus the title). I liked it sc 11 pp., pts 2 pp. $5.50. lenges, including rhythmic complexities. the first time I played it, As Charles Nagle points out in his in- There are many books of etudes for the formative note to this edition, the title Gen- developing recorder player out there, and and I like it more upon tilesse (“Pleasantry”) may call up associa- now you have one more from which to each repetition. tions with Boismortier’s very accessible choose. French style, which usually consists of

September 2001 25 Gualterina and Canzona Decima detta MUSIC REVIEWS (cont.) L’Henricuccia (1628) by Girolamo Fres- cobaldi;, Sonata Prima and Sonata Terza short dance movements and melodic mo- Salamone Rossi’s music generally has (1621) by Dario Castello; Sonata Ottava tion that moves predominantly in thirds. more architectural shape than that of and Sonata Undecima (1641) by G.B. However, La Matignon is in fact a modest many of his contemporaries, and his writ- Fontana. The book is progressive, starting three-movement Italianate concerto coming, though florid, does not demand the with the shorter tuneful pieces by Rossi plete with “orchestral” unisons and solo same virtuosity as does music more and working up to the highly virtuosic passages in running sixteenths. Although specifically intended for violins. This sonatas of Fontana. The collection nicely set for two treble parts and continuo, Bois- sonata published by London Pro Musica demonstrates the variety that exists in the mortier has inserted indications for solo is based on a repeated bass pattern and music of this period, and players will and tutti playing in a manner that sets off has the forward drive of most music with spend many rewarding hours working the soloistic passagework. that structure. The upper parts lie well for their way through it. Although some of The piece was originally scored for the recorders and should be manageable by the music is very difficult, the majority of fashionable musette, or hurdy-gurdy, but intermediate players. As usual, the LPM the pieces are well within the reach of in- Boismortier also specifically mentioned edition is musicologically sound, practi- termediate players willing to put in some the recorder as an alternative. The six- cal, and attractively presented. practice time. Bali contributes an exten- teenth-note passages take the music out of Marco Uccellini’s two sonatas are sive and informative introduction to the easy reach of beginners, but intermediate much more in the typical manner of the music. Although there are some mis- players will find the music quite comfort- period, with several short, highly con- prints and several phrasing discrepancies able and effective. Nagle’s edition presents trasting sections leading to a virtuosic fin- between score and parts, the presenta- the music clearly, with only a few misprints ish. He also includes passages of extend- tion is clear with good page turns in keep- (for instance, in the continuo part in bar ed solo writing for each upper voice, es- ing with the other two editions listed 129 of the first movement and bars 9, 61 pecially in the second sonata. His music here. and 119 of the last movement). One of the is more clearly intended for the tonal and Scott Paterson edition’s idiosyncrasies is a separate part technical resources of the violin, but Nitz for the continuo keyboard along with the has made transpositions where necessary A BOOK OF SONG AND DANCE, BY full score, but this does make for fewer and provided a detailed preface to help ROBIN WALKER. Forsyth Bros. Ltd. (Phone page turns. Those used to Boismortier’s recorder players make the most of Uc- 44-161-834-3281; fax 44-161-834-0630; more pastoral style will enjoy exploring cellini’s bold and inventive writing. The www.forsyths.co.uk), 2000. S/A/T (one this more cosmopolitan side of his musical edition makes clear where there have player) & pf, sc 20 pp, pt 12 pp. Abt. character. been changes to the original markings, $14.00 + P/H. and the presentation is thoughtful and DAS MANNLEIN IM WALDE, BY GER- SONATA NONA SOPRA L’ARIA DEL accurate with just a few discrepancies of HARD BRAUN. Heinrichshofen N2497 (C. TENOR DI NAPOLI (1642), BY SALAM- slurring and phrasing marks between F. Peters), 2000. S, sc 10 pp. $9.95. ONE ROSSI, ED. BERNARD THOMAS. Lon- score and parts. The moving sixteenth Folk and children’s songs (the two cat- don Pro Musica CS14 (Magnamusic), notes and the quick changes of character egories overlap to a large extent) can be 1998. Two soprano instruments and bc, will make this music a good challenge for beautiful and durable source material for sc 8 pp, pts 2 pp. $6.75. intermediate players. modern recorder music. They have been TWO SONATAS (1645), BY MARCO UC- János Bali’s anthology is one of the relatively neglected because of the stigma CELLINI, ED. MARTIN NITZ. Moeck 1137 most extensive available of music from of simplicity, which, to many composers (Magnamusic), 1998. SS (or violins), bc, this period. It includes: Sinfonia Primus and players, may seem to reinforce the Sc 25 pp, pts 5 pp. $25.00. and Sonata Seconda detta la Casalasca image of the recorder as a child’s toy. Yet, 17TH-CENTURY ITALIAN CHAMBER (1613) by Salamone Rossi; Passacaglio this music can be either utilized directly MUSIC, ED. JÁNOS BALI. Editio Musica (1655) and Sinfonia La Cornera (1617) by or be a source of inspiration for substan- Budapest Z.14213 (Theodore Presser Biagio Marini; Canzona Nona detta La tive works. Company), 1999. 2 melody instruments, These compositions serve as a good bc, sc 55 pp, pts 15 pp. $19.95. Salamone Rossi’s music example. Robin Walker’s A Book of Song One of the most exciting and unusual and Dance consists of eleven miniature repertoires for the recorder player to ex- generally has more pieces, five of which are for recorder and plore is that of the early Italian Baroque, a architectural shape than piano. Four of the remaining six are un- period of great drama and innovation in accompanied pieces for recorder, and the music. While the violin and the cornetto that of many of his other two feature the piano alone. The were usually the first choice for com- contemporaries, and his two for solo piano offer an interesting posers of the time, the recorder is almost contrast: one is a fast, exciting odd-me- always a good second choice. These three writing, though florid, tered piece that sounds like it might have editions adapt a wide range of music of does not demand the come from Bartok’s Mikrokosmos, the the period for recorder players (although same virtuosity as does other, a sweet and gentle two-part canon. Bali’s edition is published for “two Three of the solo recorder pieces are melody instruments and continuo,” music more specifically modal: two are simple folk-like melodies some of the music has been transposed intended for violins. in the Mixolydian, the other a fast 6/8 specifically to accommodate recorders). dance in the Locrian. The remaining solo

26 American Recorder piece is a slow, wandering melody with a somewhat shifting tonality. All are delightful to play and to listen to. ARS Membership Enrollment and Renewal Some of the recorder/piano pieces ac- Please enroll/renew me as a member of the Society. I’m looking forward to: tually do use folk melodies. The ones ✰ American Recorder, ARS Newsletter, and the Members’ Directory based on “O My Luve is Like a Red, Red ✰ Members’ Library musical editions Rose,” “Clark Sanders,” and the famous ✰ Eligibility for the ARS Education Program examinations “Shenandoah” have spare, minimal- ✰ Discounts to some recorder workshops and on ARS publications styled accompaniments that are wonder- ✰ Mailings from suppliers of materials, music, instruments. (ARS list is made fully sonorous and quite imaginative in available only to purveyors of goods and services for recorder players.) ✰ Information on all aspects of playing the recorder the way they seem oblivious to the tonal cadences of the melodies. Another piece, U.S./Canadian membership: ❏ one year $40, ❏ two years $75 called “Rite,” offers a biting scherzo in Foreign membership: ❏ one year $50, ❏ two years $95 minimalist style. The most shocking of U.S./Canadian Student* membership: ❏ one year $20 ❏ two years $40 the pieces is the last—its title, “Tired ❏ ❏ Boy,” gives no clue (in advance) to what Foreign Student* membership: one year $25 two years $50 we are in store for. It is based on “Rock-a- Workshop membership: ❏ one year $60 Business membership: ❏ one year $120 by Baby,” and, while the accompaniment ❏ Address and/or phone information has changed in past year. is as spare as in the previous pieces, the ❏ Do not list my name in Directory. tonal cadences are preserved. *Enclose proof of full-time enrollment. Gerhard Braun’s Das Mannlein im Walde (“The Little Man in the Woods”) All dues paid in U.S. funds by check on U.S. bank, or by international money order. offers a set of twelve delightful pieces Family members residing at the same address may share a membership. However, the based on German children’s songs and student rate is not applicable to a shared family membership. For an additional listing in the ARS Directory under different surnames at the same address, add $5. loaded with witty surprises. Braun ex- plains in his preface that these songs Please check to be included on the ARS list of ❏ Recorder teachers and/or ❏ Professional performers. (Since your recorder activities “contain basic essential features charac- may change, you must indicate on each renewal if you want to continue to be listed.) terizing Western music such as A-B-A form, regularity of meter, a melody line ❏ I wish to contribute $______to help sustain the work of the Society. based on triads, the I-IV-V-I harmonic se- Please charge to my VISA/MASTERCARD: quence, and fundamental rhythmic mod- #______Exp. Date: ______els.” Braun then seeks to “break up” Cardholder’s signature______these characteristics by repeating small NAME______PHONE (______) ______note groups, changing meter, inserting ADDRESS ______E-MAIL ______musical non sequiturs, employing color CITY______STATE ____ ZIP ______effects such as multiphonics and flutter tonguing, and by introducing sounds ex- CHAPTER/CONSORT AFFILIATION, IF ANY: ______ternal to the recorder, such as foot stamp- OPTIONAL INFORMATION: ing. One need not be familiar with the Chapter officer or committee member? ❏ Yes (officer/committee: ______) original source melodies to enjoy this ❏ No ❏ Have served chapter in the past music. Braun’s manipulations are clear- Age: _____ For how many years have you played the recorder? _____ cut and easy to follow. ❏ ❏ ❏ Both editions are beautifully printed Level of recorder playing: Amateur Semi-professional Professional and have no bad page turns. Annual income: ❏ Under $10,000 ❏ $10,000-30,000 ❏ $30,000-50,000 ❏ ❏ ❏ Pete Rose $50,000-75,000 $75,000-100,000 Over $100,000 Portion of your income derived from music: ❏ All ❏ Some ❏ None D’UNG AULTRE AMER (4 SETTINGS Portion of music income derived from the recorder? ❏ All ❏ Some ❏ None C. 1500), ed. Bernard Thomas. London If all or some, what kind of recorder activities are involved? (Check all that apply.) Pro Musica EML 359 (Magnamusic), 2000. 3 instruments, 3 sc, 4 pp each. ❏ Teach privately ❏ Teach/lead workshops ❏ Teach elementary school music ❏ Performance ❏ Recorder maker ❏ Musical director/coach $4.50. ❏ Other ______Johannes Ockeghem’s rondeau “D’ung aultre amer” was one of a select list of What type of recorder music do you play? (Check all that apply.) ❏ Medieval/Renaissance ❏ Baroque ❏ Modern/pop ❏ Folk ❏ Solo chansons favored by Franco-Flemish com- ❏ Recorder Orchestra ❏ Chamber music with other instruments (such as posers around 1500 for instrumental re- trio sonatas) ❏ Broken consort with other instruments (such as a collegium) ❏ Consort involving three or more recorders playing one-on-a-part ❏ Grand consort KEY: rec=recorder; S’o=sopranino; S=soprano; (format used in many chapter meetings, with several recorders playing on each part) A=alto; T=tenor; B=bass; gB=great bass; cB= contra bass; Tr=treble; qrt=quartet; pf=piano; fwd= fore- word; opt=optional; perc=percussion; pp= pages; sc=score; pt(s)=part(s); kbd=keyboard; bc=basso AMERICAN RECORDER SOCIETY continuo; hc=harpsichord; P/H=postage and han- P. O. Box 631, Littleton, CO 80160-0631, U.S.A. dling. Multiple reviews by one reviewer are followed by Fax (with handset down) or call in credit card renewals to 303-347-1181 that reviewer’s name.

September 2001 27 MUSIC REVIEWS ARS PUBLICATIONS (cont.) Erich Katz Contemporary Music Series Members Non-Members Suzanne M. Angevine, A Short Tale for two basses (Level II) (2 scores) $ 5 $ 8 Peter Ballinger, Double Quartet for Recorders (Level II-III) (score & parts) $10 $18 Anthony Burgess, Sonatina for Alto Recorder and Piano (Level II) (2 scores) $7 $12 workings. Seventeen such arrangements of Cecil Effinger, Dialogue and Dance (SATB) (Level II-III) (score & parts) $10 $18 that piece have survived, including some Lee Gannon, Sonatine for three altos (Level III) (score & parts) $14 $26 (score, parts & demo cassette) $23 $43 by distinguished composers. The original Erich Katz, Suite of Jewish Folk Tunes (S S/A8 A/T) (Level II) (three scores) $10 $18 rondeau with underlaid text in the top Vaclav Nelhybel, Six Short Pieces for Three Recorders, (AA/TT) (Level II) voice is included in an earlier London Pro edited by Alan Drake (3 scores) $8 $14 Stanley W. Osborn, Kyrie and Vocalise for soprano voice and recorders Musica edition (EML 341). (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14 All four of the anonymous settings in Frederic Palmer, Entrevista (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14 Sally Price, Dorian Mood (SATB) (Level II) (score & parts) $10 $18 the present edition were transcribed from Jeffrey Quick, Picnic Music (SATB) (Level II) (score & parts) $ 5 $ 8 primary sources. Each of these settings Musical Editions from the Members’ Library: treats Ockeghem’s chanson in a different ARS members: 1 copy, $3 2 copies, $4.50 3, $6 4, $7.50 5, $10 6, $11.50 way. In No. I, his original discantus and Non-members (editions over 2 years old): 1 copy, $5 2 copies, $8.50, 3,$12 4,$15 5, $19.50 6, $23 tenor lines are retained and a new bassus The ARS is happy to provide photocopied enlargements of any Members’ Library edition at the same prices. Please specify “Members’ Library Enlargement.” * = Editions not yet available to non-members. added. No. II is a parody rather than a can-

Après Paul (David W. Solomons) Serie for Two Alto Recorders (Frederic Palmer) tus firmus setting. The first two measures Bruckner’s Ave Maria (arr. Jennifer W. Lehmann) Slow Dance with Doubles (Colin Sterne) of Ockeghem’s piece are quoted exactly Dancers (Richard Eastman) Three Bantam Ballads (Ann McKinley) and the remainder treated freely. In No. III, Different Quips (Stephan Chandler) Three Cleveland Scenes (Carolyn Peskin) Elegy for Recorder Quartet (Carolyn Peskin) Tracings in the Snow the original discantus is preserved and two Elizabethan Delights in Central Park (Robert W. Butts) elaborate free parts added, including some Los Pastores (arr. Virginia N. Ebinger) Trios for Recorders (George T. Bachmann) melodic sequences and an eccentric final New Rounds on Old Rhymes (Erich Katz) *Triptych (Peter A. Ramsey) Other Quips (Stephan Chandler) Two Bach Trios (arr. William Long) cadence with parallel fifths. In No. IV, a Poinciana Rag (Laurie G. Alberts) Two Brahms Lieder (arr. Thomas E. Van Dahm) canonic pair is added to the original *Santa Barbara Suite (Erich Katz) Vintage Burgundy Sentimental Songs (arr. David Goldstein) discantus. All of these settings are playable on re- Other Materials from ARS corders, but they are not all equally well ARS Information Booklets: suited to recorders. Nos. I and IV are best ARS members: 1 booklet, $13 2 booklets, $23 3, $28 4, $35 5, $41 6, $47 7, $52 in that all three lines lie in a comfortable Non-members: 1 booklet, $18 2 booklets, $33 3, $44 4, $55 5, $66 6, $76 7, $86 range for Renaissance instruments (ATB). Adding Percussion to Medieval and Renaissance Music (Peggy Monroe) American Recorder Music (Constance Primus) No. II can be played on STB or ATB re- The Burgundian Court and Its Music (Judith Whaley, coord.) corders but requires a bass that can get up Improve Your Consort Skills (Susan Carduelis) Music for Mixed Ensembles (Jennifer W. Lehmann) to the high F. No. III is also playable on ATB Playing Music for the Dance (Louise Austin) recorders, but the tenor line includes a Recorder Care (Scott Paterson) number of awkward low E s. That line can Education Publications alternatively be played on bass but requires The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). an instrument that speaks well in the up- First copy free to ARS members, replacement copies for members or non-members, $3. per register. Guidebook to the ARS Personal Study Program (1996). Material formerly published in the Study Guide and Study Guide Handbook, plus additional resources. Members, $11; non-members, $20. Comparison of these settings with the ARS Music Lists (1996). Graded list of solos, ensembles, and method books. original rondeau in EML 341 shows where Members $8; non-members, $14. Package deal available only to ARS members: Guidebook and Music Lists ordered together, $15. to breathe in the cantus line. Since the Junior Recorder Society Leader’s Resource Notebook. ARS members, $20; non-members, $40 phrases are long, a fairly fast tempo is need- (updates at reduced rates after initial purchase). Special rate for previous purchasers of JRS Class ed. Because the rhythms are quite intri- Program, $15. Dues for each JRS student member sponsored by an ARS member, $5 ($4 each for groups of 10 of more). JRS student members receive activities plus “Merlin” badges and stickers. cate, these pieces are best suited to high in- Other Publications termediate and advanced players. Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering forming an ARS chapter. ARS members, $10; non-members, $20 (updates free after initial purchase). CHI ’NDE DARA LA BOSE, BY ANDREA One free copy sent to each ARS chapter with 10 members or more. GABRIELI, ED. BERNARD THOMAS. London Discography of the Recorder, Vol. I (1989). Compiled by Scott Paterson and David Lasocki. Discography of the Recorder, Vol. II (1990-1994). Compiled by Scott Paterson. Pro Musica EML 365 (Magnamusic), Either single volume: ARS members $23; non-members, $28. 2000. 3 voices or instruments, 3 sc, 4 pp Both Discography volumes together: ARS members only, $40. each. $4.50. American Recorder: Cumulative Index for Vols. I-XXXX. ARS members, $20; non-members, $32. Index Supplement, Vol. XXXIV-XXXX. ARS members, $8; non-members, $14. This “giustiniana” is taken from Ga- All prices are in U.S. dollars and include U.S. postage and handling. For Canadian or foreign surface postage, brieli’s Greghesche et justiniane (Venice, please add an additional $1 per item; for Canadian or foreign air mail, please add an additional 1571). It is a kind of comic popular song in $3 per item. When ordering five or more items to be shipped anywhere at the same time, ARS Members may deduct an extra $2 on top of the discounted members' price. Please make checks payable to the ARS. Venetian dialect, sung by actors dressed as VISA/MasterCard also accepted. old men, and featuring nonsense syllables. American Recorder Society The title means “Who will give voice (to a P.O. Box 631, Littleton, CO 80160-0631, U.S.A. sol fa).” The text is underlaid in all three 303-347-1120 voices, and a translation is included. Textural and rhythmic variety give this

28 American Recorder piece a good deal of musical interest. There known as “La Spagna,” which has been are imitative passages, homophonic pas- used by a number of composers for poly- FOR INFORMATION ON: sages, and two-voice passages with hu- phonic settings from the late 15th through •More than 2,000 reviews of music morous echo effects. Naive word painting the early 17th century. new and old, printed and recorded includes ascending scale passages on the According to New Grove, Costanzo Fes- •Articles on the recorder in history, its words “ut re mi fa sol la,” triplets on the ta (1490-1545) was a “consummate master players, and word “sesquialtera,” and rapidly wavering of sacred and secular vocal polyphony” performance sixteenth notes on a word that means and “probably the most important Italian practice “warbling.” composer between the periods of Josquin Although a vocal rendition is required and Palestrina.” His skill as a contrapuntist •Teaching to obtain the full comic effect, the piece is is also evident in his 157 (!) settings of the ideas and also fun to play and hear on recorders (SSA Spagna melody, which are preserved in MS practice tips or TTB). This is, however, not easy music. C36 of the Civico Museo Bibliografico Mu- A successful performance requires rhyth- sicale in Bologna. The two chosen for EML mic precision and careful articulation. We 353, “Contrapunto 9” and “Contrapunto LOOK IN recommend this piece as a lively encore 20,” are among the most rhythmically THE INDEXES FOR number for high intermediate or advanced elaborate in the collection. players. In both of these pieces, the cantus fir- AMERICAN RECORDER mus appears in the bassus line, above CUMULATIVE INDEX FOR VOLS. I - SUSANNA FAIR (1589), BY WILLIAM which are played two interweaving, rhyth- XXXX. Compiled by Scott Paterson. BYRD, ED. BERNARD THOMAS. London Pro mically complex lines featuring close imi- ARS members, $20 per copy Musica EML 354 (Magnamusic), 1999. 3 tation of short motives. Both of these set- non-members, $32 per copy. voices or instruments, 3 sc, 4 pp each. tings work well on recorders. TTB re- $4.50. corders are preferable, but other INDEX SUPPLEMENT, VOLS. XXXIV - This splendid madrigal is taken from combinations are also possible. Because of XXXX. Compiled by Scott Paterson. Byrd’s Songs of Sundry Natures. The serious the very elaborate rhythms and the uncer- (for those who own the Cumulative text, based on the story of “Susannah and tainty of phrasing, these pieces would best Index for Vols. I - XXXIII). the Elders” in the Apocrypha, is an English be performed by advanced players but ARS members, $8 per copy translation of a poem made famous in a would make good exercises in handling Re- non-members, $14 per copy. setting by Roland de Lassus (“Susanne un naissance rhythms for high intermediates. jour”). As in most of Byrd’s vocal polypho- The Neapolitan composer Ascanio Back Issues are available at the following ny, the prevailing texture is imitative coun- Mayone (c1565-1627) is known today prices (including postage). terpoint. mainly for his rather innovative keyboard VOLS. V-XXVI (1964-1985): This piece is a recorder player’s dream. music, similar in style to the early keyboard 1 copy-$5; 2 copies-$8; 3-$11; 4-$14 It fits ATB recorders beautifully, lying in a works of Frescobaldi. The three Spagna VOLS. XXVII XLI (1986-2000): comfortable range for Renaissance instru- settings selected for London Pro Musica’s 1 copy-$6; 2 copies-$10; 3-$14; 4-$18 ments. The text is underlaid in all three IM14 edition were taken from Mayone’s Li- Please inquire regarding availability of voices, making phrasing and articulation bro primo di ricercari a tre voci (1606). specific issues (including Vols. I-IV). easy to determine, and the phrases are Mayone’s Spagna settings are believed Please do not order issues not yet short enough to be played on one breath. to be modeled after those of Costanzo Fes- published. Prices include postage. For The music is simple enough to be per- ta, since both composers used the same Canadian or foreign surface postage, formed by intermediate players and yet shortened version of the Spagna melody, please add an additional $1 per item. lovely enough for inclusion in professional but Mayone’s use of imitation is more per- For Canadian or foreign air mail, please recorderists’ repertoire. As with all EML vasive and involves whole phrases rather add an additional $3 per item. When editions, one score is provided for each than short motives, and his harmonies, in- ordering five or more items to be player, print is large and clear, and there are cluding some surprising dissonances, are shipped to the same address at the same no bad page turns. This edition is right in more advanced than Festa’s. time, ARS members may deduct a every way. Go for it! All of these ricercari are well suited to further discount of $2 from the total. recorders. ATB instruments are best for 2 CONTRAPUNTI SOPRA IL CANTO nos.14 (cantus firmus in the top line) and FERMO (LA SPAGNA), BY COSTANZO 15 ( cantus firmus in the tenor line). SAB is Need a copy of just one article? FESTA, ED. BERNARD THOMAS. London Pro the best choice for no.16 (cantus firmus in Articles in American Recorder since Musica EML 353 (Magnamusic), 1999. 3 the basso line). Since these settings are 1988 may be ordered through the fax- instruments, 3 sc, 4 pp each. $4.50. rhythmically less difficult than those in the back service of The Uncover Company 3 RICERCARI SOPRA CANTO FERMO Festa edition, we would recommend these (http://uncweb.carl.org/). (1606), BY ASCANIO MAYONE, ED. BERNARD ricercari as exercises for intermediate play- THOMAS. London Pro Musica LPM IM14 ers and performance pieces for high inter- (Magnamusic), 2000. 3 instruments, sc 11 mediates. They would also make good viol AMERICAN pp, pts 4 pp each. $9.50. consort selections, and an extra tenor part, RECORDER Here are two editions of three-part Ital- written in alto clef, is included for tenor vi- SOCIETY ian consort music based upon the same ol players. Box 631, Littleton, CO 80160• 303-347-1120 cantus firmus, the old bassadanza tune Carolyn Peskin

September 2001 29 30 American Recorder BOOK

______REVIEWS ______Books on teaching recorder in the public schools and how the printing of music is related to its composition and performance COMPOSITION, PRINTING AND PER- Lowinsky) illuminate the letter’s context. (including “Using the Recorder in the Orff FORMANCE: STUDIES IN RENAIS- The articles will be best appreciated by Classroom” by Konnie Saliba) rounded SANCE MUSIC. BY BONNIE J. BLACK- those comfortable with scholarly writing. out by fingering charts provided by Dol- BURN. Ashgate Publishing, 2000. 352 pp. However, several sections are quite ap- metsch Musical Instruments. While not a Hardcover, $105.95.ISBN: 0-86078-831-8. proachable (especially the article concern- “how-to” manual for recorder teaching, Bonnie J. Blackburn has been one of the ing Zenobi’s letter), and anyone with a se- the book is roughly progressive, with each most effective investigators into the mys- rious interest in Renaissance music will chapter serving as an independent exami- tery of how musicians in the Renaissance find “On Compositional Process in the Fif- nation of topics such as “Selecting and thought about music. Composition, Print- teenth Century” to be of central impor- Purchasing Recorders,” “Teaching Tips for ing and Performance is a reprinting and up- tance. As usual with scholarly publica- the Classroom,” and “The Recorder and dating of seven of Blackburn’s journal arti- tions, the book is rather expensive, but the National Standards.” cles originally published between 1981 well worth tracking down in a library for By combining general advice and spe- and 1998. The articles are grouped into those without the means to purchase it. cific practical suggestions, including some three sections: “Tinctoris and the Art of musical exercises, Kersten is able to pre- Composition,” “Petrucci and His Sources,” ED. NOTE: A “Quincentenary Performing sent a fair amount of helpful material in a and “Advice on Performance ca. 1600.” Edition” of Petrucci’s Odhecaton was pre- relatively small space. Grounding his ad- The three articles devoted to Tinctoris pared for this year’s Amherst Early Music vice in the real world and adding to its include Blackburn’s important 1987 study, Festival under the general editorship of practical value, he makes reference to his “Compositional Process in the Fifteenth David Fallows. The elegant, spiral-bound own and other successful teachers’ experi- Century,” in which she examines in some edition will be availailable in November for ences in the classroom. While some may detail the question of when composers of $40 postpaid in the U.S. Contact info@ disagree with Kersten’s ideas here and the time conceived all the parts of a com- amherstearlymusic.org for information. there, he is generally quite sensible in his position together and when they might suggestions, and his chapter on “Literature have composed them one after the other, a TEACHING RECORDER IN THE MU- and Other Resources” gives pointers to differentiation she relates to the shift in the SIC CLASSROOM. BY FRED KERSTEN. many other sources of information. nature of dissonance treatment that oc- MENC: The National Association for Perhaps the most valuable aspect of this curred with Dufay’s generation. The other Music Education, 2001. 128 pp. Softcover, book is Kersten’s advocacy of the recorder two articles explore Tinctoris’s ideas and $15.00 ($12.00 for MENC members; order as a secondary school instrument on a par the degree to which they coincide with the item #1666 from 800-828-0229, or with traditional band and string instru- actual practice of composers of the time. www.menc.org). ISBN: 1-56545-141-4. ments. By itself, this book will not turn the The articles concerning Petrucci are Fred Kersten has written a concise but tide on that question, but to have such timely in the year of the 500th anniversary wide-ranging handbook for classroom re- ideas clearly expressed in an MENC publi- of his collection Odhecaton, the first pub- corder teachers at all levels. Although the cation is surely a step in the right direction. lished music. They primarily concern the book is primarily directed toward those In the meantime, classroom music teach- sources for the music in the Odhecaton, teachers who are new to the instrument, ers, and even private recorder teachers which probably came from the collection experienced teachers will also find many with children’s groups will find this to be a of Petrus de Castello, the music director of ideas to compare with their own work and book full of intriguing ideas and helpful a large Venetian church. to stimulate their imaginations. practical advice. The book’s final section presents a let- The book is divided into nine chapters Scott Paterson ter by a 16th-century musician, Luigi Zeno- bi, to an unnamed prince listing the ap- The articles concerning Petrucci are timely in the year propriate qualifications for various types of musicians (composers, singers of various of the 500th anniversary of his collection Odhecaton, voice ranges, and wind and string players, the first published music. They primarily concern though with no mention of recorder players specifically). The letter stands alone as the sources for the music in the Odhecaton, which an entertaining and informative docu- probably came from the collection of Petrus de ment, but Blackburn’s extensive annota- Castello, the music director of a large Venetian church. tions (picking up on work done by Edward

September 2001 31 CHAPTERS

______& CONSORTS ______Play-the-Recorder Month reaches out to thousands

The ninth annual Play-the-Recorder living in Cleveland. (The last included a re- Month celebration last March again afford- corder arrangement of “Grandfather’s ed opportunities for ARS chapters to team Clock,” written by American composer up with young players in events showcas- Henry Clay Work in 1876, but now fre- ing the recorder. The Chapters & Consorts quently sung with Japanese words in Committee chose three co-winners of the Japanese elementary schools. More infor- “Most Imaginative Event” contest for mation about Morooka’s works will be chapters: East Bay (CA) Recorder Soci- published in the fall issue of Leader Link, ety, Greater Cleveland (OH) Chapter, sent to all ARS chapter leaders.) and Sacramento (CA) Recorder Society. The Sacramento Recorder Society For this year’s event, the East Bay Re- capitalized on a local incident, incorporat- Courtly Music Unlimited, and Boulder corder Society expanded the inaugural ing it into a regular Play-the-Recorder Early Music Shop. program they presented in March 2000 Month event. At the end of February, SRS ARS Chapters & Consorts Committee during Kids’ Month at Borders Books and officer Kathryn Canan received a tele- members were pleased at the number of Music in Emeryville. Several ensembles phone call from a fisherman living on a events that included young players in sig- from within the EBRS performed a multi- boat on the San Joachin Delta. In the water nificant roles, an obvious effort by chapters part concert that also involved two chil- he had found a briefcase containing three to counteract the “greying of recorder play- dren’s groups: the East Bay Junior Re- recorders, which he wanted to return to ers” trend. Besides EBRS and Cleveland, a corder Society and a group of seventh their owners. Although the recorders were quartet from the Fort Collins (CO) Re- graders from a Mill Valley middle school. in good shape and didn’t appear to have corder Society played music from a vari- Instrument demonstrations were given by been floating for long, a flyer in the case ety of periods for about 60 fourth-graders, a member of one of the EBRS consorts (in from the Greater San Francisco Area Re- who joined in using Orff instruments and period costume) and also by one of the JRS corder Society was dated 1971. The mys- rhythmic clapping on some pieces. “Eric’s youngsters. The chapter’s new logo was tery went public when several local publi- Irregulars,” from the Twin Cities (MN) prominently displayed on a music stand in cations including the Sacramento Bee ran Recorder Guild, played for about 100 stu- front of the group, to draw attention and stories to try to find the owner of the in- dents in two middle schools in St. Louis also clearly identify the performers to struments. After receiving a number of Park, demonstrating the range of instru- shoppers, many of whom stopped during speculative scenarios in response to post- ments from great bass to garklein. The Or- the two-hour show to enjoy the music. Se- ings on several e-mail lists, the chapter was ange County (CA) Recorder Society also lections included several pieces by J.S. inspired to launch the “Sacramento Re- sent an ensemble to play for over 100 chil- Bach, plus Renaissance and modern works corder Society Recorder Mystery Story dren at Laguna’s Top-of-the-World School. including a composition by a JRS member. Contest.” The contest winner, Mark Van- Their audience included third-graders who Cleveland Chapter’s program was a ek, was announced during an afternoon of were learning to play recorder, as well as two-hour Recorder Festival in the classical tea, coffee, sweets, and music played by second- and fourth-graders who wanted to music section of Joseph-Beth Booksellers, SRS early music groups at the Belle Cool- attend the concert. The quartet of OCRS a new upscale bookstore. Ten members of edge Library, a venue also previously used chapter members became a quintet with the chapter, plus eight young Suzuki re- by the chapter during Play-the-Recorder the addition of a visiting nine-year-old corder students, ages four to nine, gave in- Month. grandson of one of the quartet members. formal performances including a potpour- The chapter with the greatest percent- Repertoire for the concert ran the gamut ri of Renaissance music; Baroque-era en- age membership increase during Play-the- from Bach chorales to rock music. St. semble music ranging from sonatas by Recorder Month was a new chapter, the Louis (MO) Recorder Society members Quantz and Finger to selections from Han- North County Recorder Society near San gave presentations at an elementary school del’s Water Music; European folk songs Diego (CA). The group formed and sent in and hospital, in addition to its third annu- from the Suzuki Recorder School (per- their initial dues for new members during al spring concert in March. formed by the children); and 20th-century that period, resulting in an increase of six Three Colorado Chapters—the Fort music including Poinciana Rag by Laurie members—from one member (the found- Collins Recorder Society, Greater Den- Alberts (from the ARS Members’ Library), ing chapter leader) to seven. Prizes for all ver Chapter and Boulder Chapter— a jazzy work by Andrew Charlton, and two four winning chapters, ranging from re- hosted multi-hour events featuring con- pieces by Tadanori Morooka suggested by corder ensemble music to music stands, sorts of recorders at their local Barnes and Japanese members who are temporarily were donated by Von Huene Workshop, Noble Bookstores. Incorporating a perfor-

32 American Recorder mance by third- and fourth-graders from Shepherd of the Hills Lutheran School in- to the afternoon also brought out parents with cameras to Denver’s fifth annual Re- corder Faire. Members from all three chapters enjoyed a March concert and master class with Marion Verbruggen. Chapters regularly play for the worship services of churches in which they meet. During Play-the-Recorder Month, groups from the Fort Collins Recorder Society and Westchester (NY) Recorder Guild played for church services. The La Mer Consort of the Riverside (CA) Early Mu- sic Society and 12 members of the Society for Early Music of Northern Maryland gave recitals in local churches—the Mary- land event including five dances from Play- ford’s English Dancing Master with eight dancers from the Baltimore Folk Music So- ciety. Other venues became the sites for performances by ARS chapters: the Princeton (NJ) Recorder Society at Princeton Mar- ketfair, Montreal (PQ) Recorder Society in a downtown commercial location, and South Bay (CA) Chapter at Espresso Gar- den (where place cards on tables promoted the event). Several consorts also sponsored concerts. Carmina Consort (Indianapolis, IN) at Barnes and Noble; Galena (IL) Re- corder Consort at a local church; and the C-Pipers (Cape Canaveral, FL) at a con- dominium gathering. The last event included a poem composed for the occasion by “resident poet” Toni DiRocco. A staple of Play-the-Recorder Month activities is the chapter workshop. True to form, March workshops were hosted by the Birmingham (AL) Area Chapter, North Coast (CA) Chapter, Sacramento (CA) Recorder Society, Hawaii Chap- ter, Twin Cities (MN) Recorder Guild, Triangle (NC) Recorder Society, and Austin (TX) Chapter. At the request of North Coast Chapter, the mayor of Eureka also issued a proclamation that March was Play-the-Recorder Month. Now is the time to see your local may- or—or the manager of your local bookstore or other venue—to begin planning events for the 10th annual event in March 2002. For more ideas, visit the ARS web site to read reports of past years’ successes.

CHAPTER NEWSLETTER EDITORS Want to see your chapter in the news? Check to be sure that a copy of your chapter newsletter goes to American Recorder, 472 Point Road, Marion, MA 02738; or e-mail text to [email protected].

September 2001 33 Order your recorder discs through the ARS CD Club!

The ARS CD Club makes hard-to-find or lim- citation from the 2000 Vival- ited release CDs by ARS members available di Prize for Recordings of Ital- to ARS members at the special price listed ian Early Music—Giorgio Cini (non-members slightly higher), postage and Foundation, Venice. Dorian. handling included. An updated listing of all $17 ARS/$20 others. available CDs may be found at the ARS web ____MIDNIGHT SUN Alison site: www.americanrecorder.org. Melville and Colin Savage, recorders; with other members of Ensemble Polaris playing flute, BACK IN STOCK! clarinet, guitar, ‘cello, hurdy-gur- ____J.S. BACH: TRIO SONATAS Judith Linsenberg, dy, percussion. Traditional music recorders; Elizabeth Blumenstock, violin; Elisabeth from Sweden, Finland, Estonia, Nor- Le Guin, ‘cello; Edward Parmentier, harpsichord. Six way and Scotland in new arrangements. works arranged by Linsenberg from trio sonatas for A Classic CD Disc of the Month, August organ, BWV 525-530. Supported by the 1992 ARS 2000. Dorian. $17 ARS/$20 others. Professional Recording Grant. Virgin Veritas. $17 ____MY THING IS MY OWN: BAWDY MUSIC ARS/$20 others. OF THOMAS D’URFEY Tina Chancey, Grant Her- ____CELESTIAL WINDS I David Young, recorders; reid and Scott Reiss, recorders and other early in- Lisa Franco, celtic harp. Relaxing recorders accom- struments; Rosa Lamoreaux, soprano. Common panied by gentle harp. Universe Music. $17 ARS/$20 tunes of love, sex and seduction in 18th-century others. England, collected by D’Urfey in his “Pills to Purge ____ENGLISH CONSORT MUSIC: BROWNING MY Melancholy,” used as vehicles for improvisation. DERE Marion Verbruggen and Flanders Recorder Koch International. $17 ARS/$20 others. ____A. SCARLATTI: CONCERTI DI CAMERA Quartet (Bart Spanhove, Paul Van Loey, Joris Van Judith Linsenberg, recorders; with other members Goethem, Geert Van Gele). Subtitled work by Hen- RECENT LISTINGS: of Musica Pacifica. Seven sonatas for various ry Stonings, “The leaves be greene” by William ____AIRES AND DUETS FOR TWO FLUTES AND instrumentations.. $17 ARS/$20 others. Byrd, other 16-17th century consort works. Quali- BASS Vicki Boeckman and Dorte Lester Nauta, re- ____SHINE AND SHADE Piers Adams, recorder; ton. $17 ARS/$20 others. corder; Mogens Rasmussen, viola da gamba; Viggo Julian Rhodes, harpsichord. Works of Norman ____PERGOLESI: LA SERVA PADRONA Elissa Berar- Mangor, archlute and chamber organ. Trio sonatas Fulton, Edmund Rubbra, York Bowen, Lennox di, recorder; Julianne Baird, soprano; John Osten- for two recorders and continuo by Handel, Tele- Berkeley, Edward Gregson, Stephen Dodgson, dorf, bass-baritone; Philomel Baroque Chamber Or- mann, G. B. Braun, T. Merula, S. Rossi. Primavera. Donald Swann. $17 ARS/$20 others. chestra. Title work, an opera buffa from 1733, with $17 ARS/$20 others. ____SONGS IN THE GROUND Cléa Galhano, Vivaldi, “Recorder Concerto in A,” nestled as an en- ____DISTRIBUTION OF FLOWERS Cléa Galhano, recorder, and Vivian Montgomery, harpsichord. tr’acte between the two comic opera acts. Omega. recorder; Tony Hauser, guitar. Latin CD featuring Works by Pandolfi, Belanzanni, Vitali, Bach and con- $17 ARS/$20 others. works by Argentinian accordion virtuoso Astor temporaries Thomas, Morrison and Setti, featuring Piazzolla. Ten Thousand Lakes. $17 ARS/$20 others. songs based on grounds. Ten Thousand Lakes. $17 NEW ADDITIONS ____FRUIT OF A DIFFERENT VINE Alison Melville, ARS/$20 others. ____CHARLESTON PRO MUSICA Marsha Evans, Natalie Michaud, and Colin Savage, recorders; ____TELEMANN: TRIO SONATAS WITH RECORDER Lewis Fitch and others, recorders, gemshorns, guitar A. Hall, piano. Works by Berkeley, Genzmer, Vicki Boeckman, recorder; John Holloway, violin; and voice. Medieval and Renaissance music. Mille- Hindemith, Leigh, Staeps, and others. Supported by Jaap ter Linden, cello/gamba; Lars Ulrik Mortensen, nium Music/Charleston SC. $17ARS/$20 others. the 1994 ARS Professional Recording Grant. S.R.I. harpsichord; Aloysia Assenbaum, chamber organ. ____CHARLESTON PRO MUSICA ON TOUR Marsha $17 ARS/$20 others. Trio sonatas for recorder and violin, recorder and Evans, Lewis Fitch and others, recorders, ____IMAGINE II David Young, recorders. More con- gamba, recorder, and harpsichord. “Expertly played gemshorns, guitar and voice. Medieval and Renais- temporary interpretations of classic songs from the collection of chamber music...”—Early Music Ameri- sance music with consort and singers. Millenium 1970s by Neil Young, Jim Croce, Carole King, and ca Magazine. Qualiton. $17 ARS/$20 others. Music/ Charleston SC. $17 ARS/$20 others. Moody Blues. Universe Music. $17 ARS/$20 others. ____CHRISTMAS AT THE CASTLE Blue Oak Consort ____A JOURNEY AMONG TRAVELLERS (CD and guests, Richard Geisler, director. Five centuries SHORT) Peter Bowman and Kathryn Bennetts per- of holiday music from many lands; a Christmas con- form Donald Bousted’s 26-minute quarter-tonal Please indicate above the CDs you wish to order, cert set in a castle, played and sung by 17 musicians piece for two alto recorders. $12 ARS/$14 others. and print clearly the following: on recorders, strings, percussion and voice. $17 ____LES AMIS DU BAROQUE Paul Nauta, ARS/$20 others. recorder/Baroque flute; Koen Dieltiens, recorder; Name ______DANCING DAY Scott Reiss, Tina Chancey and Jan de Winne, Baroque flute; Christina Mahler, Daytime phone: (_____) ______Jane Hershey, recorders and other early instruments; cello; Shalev Ad-El, harpsichord/organ. Ensemble in Rosa Lamoreaux, soprano; Mark Cudek, lute & cit- CD title plays music by Bassani, Corelli, Vivaldi, etc. Address: ______tern; Joshua Lee and Daniel Rippe, bass viol & per- Highlight Intl. $17 ARS/$20 others. cussion. Medieval, Renaissance and traditional ____MUSICK FYNE PLAYS MUSIC OF THE ITALIAN City/State/Zip: ______Christmas music spanning about 500 years—from BAROQUE Alison Melville and Colin Savage, Check enclosed for the British Isles, Italy, France, Spain, Germany and recorders; with other members of Musick Fyne. America. Koch International. $17 ARS/$20 others. 17th- and 18th-century duos, trio sonatas, arias, _____ single CDs x $____ = $______THE FOOD OF LOVE Tina Chancey, Grant Her- diminutions. Upbeat Classics. $17 ARS/$20 others. _____ 2-CD sets x $____ = $______reid and Scott Reiss, recorders and other early in- ____NEO-MEDIEVAL Tina Chancey, Grant Herreid, TOTAL = $______struments. Early instrumental music of the British and Scott Reiss. Medieval improvs for a postmodern Isles, with works by Byrd, Gibbons and Simpson age. Dorian Discovery. $17 ARS/$20 others. Please charge the above amount to my MasterCard through Dowland, Playford and Coperario. Dorian. ____POPULAR MUSIC OF THE RENAISSANCE, or Visa: $17 ARS/$20 others. Anne & Rob Burns (A Reasonable Facsimile) play re- ____MANCINI: CONCERTI DI CAMERA Judith Lin- corders, shawm, cittern, Renaissance guitar, straw #______Exp. Date: ______senberg, recorders; Elizabeth Blumenstock and Lisa fiddle, and a variety of drums, whistles, and pipes. Weiss, violin; George Thomson, viola; David Morris, Second From the Bottom. $17 ARS/$20 others. Cardholder’s signature: ______‘cello; John Schneiderman, archlute & baroque gui- ____SACRED LOVE SONGS David Young, recorders. tar; Charles Sherman, harpsichord & organ. Seven Contemporary interpretations of traditional songs: Mail to: AMERICAN RECORDER SOCIETY,Box 631, sonatas by Francesco Mancini, plus one work each Ave Maria, Amazing Grace, Scarborough Faire, Ode Littleton, CO 80160-0631, U.S.A. You may fax from his contemporaries Francesco Durante and To Joy, Somewhere, Pachelbel’s Canon, and more. or call in your credit card order to 303-347-1181. Domenico Scarlatti. “Highly recommended” Universe Music. $17 ARS/$20 others. ON THE

______CUTTING EDGE ______The mutable face of tradition

The English recorderist John Turner has it of the Lamb, written for only soprano recently recorded some new and interest- voice and recorder, yet amazingly ing chamber music on three different CDs. sonorous for a duet. The title track, Ken- Turner, once a member of the David neth Leighton’s Animal Heaven, is also Munrow Consort, has managed to attract quite attractive with nice sounding poly- many composers to writing for the re- tonal harmonies. corder and has been a champion of music The same group of musicians appears that he refers to as being in the “British on the title track of Letters to the World John Turner tradition.” (Metier 92062), a CD featuring the cham- In this day and age that tradition is not ber music of George Nicholson. The com- so easy to define in concrete or even in the- position Letters to the World is a large-scale ular and constantly changing meters that oretical terms. In the early part of the 20th set of eleven songs that offer interesting give the sensation of stumbling out of con- century, it could be said to emanate from timbres and textures. The ensemble pas- trol while, at the same time, projecting an the English folk song discoveries of Cecil sages imaginatively highlight the texts and aura of containment in a surreal, motion- Sharp and the incorporation of English are in no way related to what we would ex- less state. The fourth movement, Improvi- folk song idiom into a modern style by pect from a Baroque ensemble with the sation, allows the recorder player to im- Ralph Vaughan Williams. By the time the same instrumentation. Nicholson’s music provise using a collection of given motives first modern English recorder works were is at its best when it is either tense and (which Turner does brilliantly, by the way) written (the late 1930s), the influence of scurried or slow, colorful, and impression- over a static background. The result is a this idiom was being challenged by outside istic. The colors available from the ensem- strange polytonal and polyrhythmic simul- forces and would soon be equally chal- ble are considerably enhanced via the use taneity. The exciting final movement, lenged from within by Benjamin Britten, of different sizes of recorders. This also in- “Moto Perpetuo,” features a stream of who looked to the composers of the Eng- creases the possibilities for timbre modu- overblown staccato sounds on the bass lish Renaissance period for inspiration. At lation, a device that Nicholson utilizes in recorder. any rate, such early modern English re- interesting and sensuous ways. In addi- corder compositions as Lennox Berkeley’s tion, the same CD contains a solo recorder Growing up with technology Sonatina, Franz Reizenstein’s Partita, and piece entitled Spring Song. Its five brief Among the entrance requirements for Cyril Scott’s Aubade do not fit the Sharp- movements alternate between what the the Virtuoso Recorder Program at the Vaughan Williams mold. composer refers to as “the reflective and Amherst Early Music Festival is the sub- Today, the “British tradition,” at least in the athletic” and they employ, among oth- mission of a demo tape. This year, half of large view, can perhaps only be defined ei- er effects, microtones and flutter-tonguing. the applicants sent in their own home- ther as an unqualified (other than the na- The third CD, Dream Carousels (NMC made CDs instead of the tape. tionality of its composers) aggregate body D068), features the chamber music of An- The disk by one of the applicants, or in terms of a murky area we generally re- thony Gilbert, one of the finest composers Daniel Koschitzki, included an original fer to as personality. It is the latter, an elu- Turner has connected with. The recording electro-acoustic and partially improvised sive quality at best, that seems to allow us only contains one piece that uses the re- work called Phoenix. It’s an overly long pre- to consider the majority of works written corder but it’s a gem worth hearing. It sentation with too many different ideas but for Turner to be distinctly British. bears the Russian name Igorochki, meaning it nevertheless reveals Koschitzki’s un- Two of the three CDs feature Turner a little thing to play—a game or a musical questionable talent, imagination, and in- with a group that includes Alison Wells, instrument—and is scored for the unusu- genuity. soprano, Keith Elcombe, harpsichord, and al and intriguing combination of recorder, Also on his demo CD is a version of Jonathan Price, cello. Animal Heaven percussion, cimbalom, guitar, and string Frans Geysen’s solo composition Geroes- (Metier MSV 2036), a compilation of songs quartet. The first movement, “Lullaby”, terol (written for Geert Van Gele) per- by six different composers, is the most sets the wonderfully witty tone of the piece formed with a computer generated hip- conservative. One of its sets of songs— with its combination of Stravinsky-like dy- hop background. Though the end result all Four Findrinny Songs by Sally Beamish— namism and Webern-like pointillism. but obliterates the composer’s intention, stays very close to the Vaughan Williams Movement two, “Song,” is a microtonal it’s also more interesting than the solo style. Most attractive among the pieces is recitativo that becomes bird-like towards piece by itself. Lyell Cresswell’s Prayer to appease the Spir- the end. The third, “Dance,” features irreg- Pete Rose

September 2001 35 ______RESPONSE ______Letters about three composers for recorder

Block Remembered feat requiring great endurance in the frigid piano and composed music for dance The obituary for Robert Paul Block in winters of Iowa and Minnesota. He put up bands, for musical theater, for army en- the May 2001 issue focused primarily on friends at his house for months or even sembles, and for groups in schools when Bob as a composer and as an editor of hun- years. He crafted true-voiced Renaissance he worked as an English teacher. Certainly, dreds of editions of music, including many flutes out of plastic tubing and old corks. his ability to exploit the different charac- for recorder. But Bob Block’s contributions He was as enthusiastic about folk dancing ters of the standard wind instruments is to recorder playing and to the American as he was about music. striking in his later works for wind ensem- Recorder Society go far beyond composing Bob Block was a wonderful teacher and bles. He wrote some excellent works for and editing. a wonderful friend, and I will miss him voice, for similar reasons. Bob was music director of the Iowa greatly. Second, Burgess found his musical City, IA, chapter of the American Recorder Shauna S. Roberts, member voice in the 1930s, as Mr, Paterson sug- Society for several years as it struggled to New Orleans Early Music Society gests. This was a time when some contem- get on its feet, part of that time for no pay. New Orleans, Louisiana porary composers thought that Schoen- He spent two decades with the University berg and Stravinsky were already out of of Iowa’s Collegium Musicum, passing on Burgess Praised date (as contemporary book Music Ho!, by his enthusiasm for early music and his 1 was intrigued by Scott Paterson’s ar- the English composer Constant Lambert, high standards to several generations of ticle about the recorder music composed confirms). The young Burgess said he did college students. by the novelist Anthony Burgess (Septem- not find these composers too difficult, but Bob was also an excellent recorder ber 2000). As a modest pianist, I can echo too boring. His later orchestral scores con- teacher, and I feel lucky to have studied his caution that Burgess must have had firm that he had studied and understood with him. Strict but gentle, Bob ensured rather large hands! Having lived close to the works of virtually every major compos- students learned good technique without his birthplace, I can also confirm that he er in the 20th century. making them feel bad about mistakes. We was born amid rows of traditional industri- Third, and perhaps most important I learned to play the scales and correspond- al terraces. However, the Catholic gram- hope to your readers, is that the composing arpeggios of every key with whatever al- mar school he attended in his teens pro- er’s son, Andrew Burgess Wilson, plays re- ternate fingerings were appropriate. Each vided him with an excellent and supportive corders himself. As Mr Paterson says, An- time I play a piece with G flats or B sharps, education, where his progress in musical drew’s first instruments were the oboe and I mentally thank Bob for all those hours we talent was well appreciated. The school al- cor anglais, but he soon turned to playing spent on scales. Lessons were relaxed, of- so educated boys from prosperous foreign and teaching recorders at a time when this ten starting with a cup of tea and ending and commercial families, providing a more was still unusual. Andrew owns and plays with Underfoot the cat snoozing on my cosmopolitan environment than experi- Renaissance, Baroque and modern instru- lap. Even as an adult student, I looked for- enced by most of Burgess’ contemporaries. ments, from sopranino to great bass. In ward to receiving the reward for a lesson There are some other points I would short, Anthony Burgess had his own son to well played: a frog stamped on my music. like to add to Mr. Paterson’s account, give him advice on technical questions When my recorders had problems, Bob al- which I hope will encourage your readers about the recorder—naturally including ways managed to fix them, usually with to take Anthony Burgess seriously as a the ranges of individual instruments. The nothing more than a bit of wax or a thin composer for recorders. First, Burgess ac- great bass works that Mr Paterson cited shaving of cork. cumulated a wealth of practical musical ex- provide an interesting case; I have seen an Bob was a true original. He never perience, though he never studied music early sonata that really did stretch the in- owned a car, getting around by bicycle—a in an academic institution. He played the strument to its limits, in a work Andrew freely admits he could barely play. On the other hand, I have a tape of Andrew play- I have a tape of Burgess’s son playing one of the ing one of the later great bass sonatas that later great bass sonatas that shows how much his shows how much his father had learned father had learned about writing for this delightful about writing for this delightful instrument. The performance (accompanied on instrument. The performance is particularly a concert grand by British composer Shiela effective in bringing out the singing quality of the McQuattie) is particularly effective in bringing out the singing quality of the in- instrument in the slow movement. Certainly, strument in the slow movement, and was a Andrew showed no sign of strain when negotiating revelation to me when I heard it in the stu- dio. Certainly, Andrew showed no sign of the topmost notes on his own Moeck great bass! strain when negotiating the topmost notes

36 American Recorder on his own Moeck great bass! I should add that I myself have had the pleasure of ac- companying Andrew on a number of occasions—when playing the easier pieces. Indeed, I would not claim that Anthony Burgess’ recorder music is easy to play. My Write or call for free catalogs guess is that it was usually aimed at players of the semi-professional standard at which and specify areas of interest. Burgess played the piano himself. A few pieces are more accessible, while some ear- Boulder Early Music Shop ly experiments are almost impossibly diffi- P.O. Box 428 cult. The restless intelligence he displayed in his novels is always present in his music, Lafayette, CO 80026 however, so none of his works, whether easy or hard-to-play, is uneventful. I hope Monday through Friday: your readers will appreciate that I have confined my comments almost completely 10:00 am - 5:30 pm to works I have either heard in live or recorded performance or have accompa- 1822 Powell Street nied myself. I heartily recommend readers Erie, CO 80516 to try out Burgess works for themselves in turn—and make up their own minds 800.499.1301 about the quality and enjoyment they can offer! 303.926.4301 Mark Bones Fax: 303.926.4302 Hull, England E-mail: [email protected] ED. NOTE: Mr. Bones used to be managing Web: www.bems.com director of Saga Music Publishing, Ltd., but now has no connection with the company nor financial interest in the music of Anthony Burgess. U.S. inquiries about Saga scores should now be addressed to: Elkin Music Services International, 305- 522- 3611, ext. 7; 305-522-3609 (fax).

Ocarinas Featured Thanks for the copies of the Members’ Li- brary Edition of my composition Après Paul and for helping with the connection to AR On-Line (www.recorderonline.org). AR does indeed look a very grand publication. I see that the March issue has an article on ocarinas (“The Clay Pot That Sings,” page 9). You may be interested to know that I have written three ocarina septets (yet to be performed). The link to these pieces is at . David W Solomons Sale, Cheshire, England

ED. NOTE: And there is nothing to keep recorder ensembles, too, from downloading and playing these colorful, extended works.

Letters in response to material in AR are The welcomed. They may be sent to AR Response, 472 Point Road, Marion, MA 02738, or e- Recorder Magazine we invite you to visit the site mailed to [email protected]. Letters may be edited for length and style. www.recordermail.demon.co.uk

September 2001 37 PLAY-ALONG CDS FOR RECORDER (cont.)

cially in the second movement, where the the harpsichord. I hear no arpeggiation on harpsichordist (Siegfried Petrenz) creates the MusicPartner accompaniment. Also, some really nice effects with rubato and or- many performances I have heard use vary- namentation. Is there any more sublime ing degrees of notes inégales , especially in experience for a wind player than the in- the Largo from the B major sonata. The teraction with the violinist in the second MusicPartner accompaniment is very movement of the Fifth Brandenburg? This straight, and some performers may prefer recording makes me wish for more orches- this. These interpretive decisions were tral play-along CDs (as noted, Branden- most likely deliberate, considering the pur- burgs No. 2 and No. 4 appear as flute play- pose of the CD as an aide to rehearsal. alongs in the Music Minus One series). However, I believe that the accompani- Also recorded by MusicPartner are two ments can be a little more daring, and Mozart Sonatinas, KV 439b (MP 4555). users can be trusted to listen carefully These are technically (not musically) easy enough to play successfully with a more to play. The accompaniment is played by flowing accompaniment. Sections within Karl Kammerlander on a modern piano. Telemann sonatas where the bass line is in Accompaniments for three of the 12 Ve- cannon with the solo line are brought out racini sonatas (F major, G major, D minor) nicely in the recorded accompaniment, can be found on MP 4965-1. The second and come through easily as you play along. movement of the first sonata is recorded twice, once at a breakneck tempo, and Composers represented again at the end of the CD at a more mod- It appears that two composers are over- erate tempo. Although these accompani- represented in the play-along market— ments are modeled on the Peters Edition, Handel and Telemann. The Partita No. 2 in there are some repeats in the printed mu- G Major by Telemann is produced by sic that are not taken on the CD. These are Dowani and DiscContinuo. Telemann’s great sonatas, challenging and yet fun to Sonata in F Major is produced by Music- play. Partner, and MMO, and Dowani. The four MP 9433 features the Sonata No. 1 in D standard Handel sonatas are produced by Minor by Mancini. This is great fun, main- MusicPartner. Ken Andresen also pro- ly because it is one of the technically easier duces a cassette tape and a printed edition sonatas and easily sight-read by an ad- of these sonatas (which I have not heard) vanced intermediate player. Of course, that sells for $15.95. While only Music- performers will need a real live continuo Partner produces the Handel G minor team in order to play the “cadenza ad libi- sonata, the A minor sonata is produced by tum” at the end of the first movement, as MusicPartner and Dowani. The F major the CD accompaniment gently leads the sonata is produced both by MusicPartner soloist to the final chord with four de- and MMO, and the C major sonata is pro- scending eighth notes, leaving no time for duced by MusicPartner, DiscContinuo, as a cadenza. well as MMO! This is not surprising, since Accompaniments for four Telemann these Telemann and Handel sonatas are sonatas (F major, B major, F minor, and C staples of the repertoire, and virtually every major, all TWV 41) are presented on MP recorder player learns them. Perhaps the 9438. These sonatas are played at some major companies in the recorder play- very fast tempi—especially the Vivace in along industry might spread out a bit in the F minor sonata. In the B major Tele- the future to include currently unrepre- mann sonata, the opening measures of the sented composers. Allegro and the Vivace are unaccompanied; thus, the harpsichord doubles the re- Susan Groskreutz reviews music for corder line. The continuo accompaniment American Recorder and serves as president on this particular CD is stable and easy to of the American Recorder Teachers Associa- follow, but is perhaps a bit “dry.” For ex- tion. She encourages readers to send her ample, most performances I have heard of names of pieces they would like to have in play- the first movement of the B major sonata along format ([email protected]) and are graced with delicately rolling chords in promises to forward these to the companies.

38 American Recorder Q & A ______Readers ask two questions related to holding the recorder

UESTION: I have an adult student who in the National Cathedral in Washington, Qhas difficulty covering the lowest holes on D.C., and the instrument probably isn’t ac- the alto recorder due to arthritis. Can anyone tually a recorder. recommend an alto recorder with keys, or one But to answer your question, recorders with a shorter finger spread?—C. L., Fort were often played with the right hand on Worth, Texas top in the Renaissance. In fact, diagrams in Renaissance treatises (and surviving in- NSWER FROM LEE COLLINS: Several struments) show that recorders were com- A choices are available. The Moeck 237R monly built to be played with either hand sycamore alto has double F/F keys on the on top. That’s where the expression “flute foot. The Adler 2001K and the Aura Zamra of nine holes” comes from. There were two VA500K (both of maple) each have a single holes in position 7, one on the right side of F key on the foot. The Adler Filius 443 alto the instrument and one on the left side. has a slightly shorter finger spread that Thus, the lowest hole could be covered by should be easier for older hands, but it the little finger of either hand. The unused does not have a foot key—an important hole was plugged with wax. And keys on factor, because I think foot keys will be nec- Renaissance instruments were shaped like essary for arthritic fingers. a butterfly for the same reason. My firm and several overseas makers There are many examples in Renais- can add keys to middle sections of re- sance art of recorders being played with corders, which often help ease the finger the right hand on top. One of the three spread. Since most feet have double holes, players depicted on the frontispiece of however, it is usually not possible to add Ganassi’s Fontegara (Venice, 1535), the foot keys that will play both the lowest note oldest known recorder method book, is and its sharp. Some makers, including the holding his instrument that way. Further ones above, will sell a player a new keyed examples from France, Italy, the Nether- foot to replace an unkeyed foot, if that lands, and Germany are shown in the first model is available with keys. two chapters of Anthony Rowland-Jones’s Lee Collins is a restorer and repairer of Cambridge Companion to the Recorder historic woodwinds. (Cambridge University Press, 1995). Still other examples can be see in an article by ED. NOTE: In plastic, the appropriate Rowland-Jones in the November 1997 is- choice is probably the Dolmetsch Nova al- sue of American Recorder, which includes to, which has a remarkably small spread photos of angel musicians painted on altar for the fingers of the right hand, with only pieces from 15th-century Spain. Curiously, some loss of power in the low A as a result. only three of the ten recorder players shown in that article are using the normal UESTION: The needlepoint kneeler pro- (for us) left-hand-on-top position. Qject at my church was recently complet- Carolyn Peskin ed, and the designs are truly beautiful. I was surprised, though, to see that one of them fea- ED. NOTE: Even today, some teachers learn tures an angel holding a recorder with the to play recorder “wrong-handed” because right hand on top! Is it possible that the de- it makes it easier for students to “mirror- signer was given wrong information? Tell me, image” a teacher standing before them. was the recorder ever played with the right The one rational reason for preferring a hand on top?—Lenore Wulff, Sagamore left-hand-on-top position (leaving aside Hills, Ohio some tone-holes drilled off-center and hand-specific keywork on larger instru- NSWER: There’s a danger in trying to ments) is that it makes it easier for fourth- A identify musical instruments repre- graders to switch to mainstream wood- sented in works of art. I checked with a winds. But given the recorder world’s hope church official who told me that the design that the recorder not be considered just a was modeled after a stained glass window pre-band instrument, how rational is that?

September 2001 39 SWEETHEART CONSIDER ADVERTISING IN FLUTE CO. ______CLASSIFIED ______Baroque Flutes: our own ______“Sweetheart” model ______Fifes, Flageolettes Full page ...... $500 2/3 page ...... $365 “Irish” Flutes & Whistles. 1/2 page ...... $300 Send for brochure and/or 1/3 page ...... $240 antique flute list. 1/4 page ...... $180 Where the haves 1/6 page ...... $140 32 South Maple Street and have-nots 1/8 page ...... $105 Enfield, CT 06082 1/12 page ...... $ 75 (860) 749-4494 of the recorder world 1 column inch ...... $ 45 [email protected] can find each other Web link in AR On-Line ...... $20 www.sweetheartflute.com Circulation: Includes the membership of the American Recorder Society, libraries, and music organizations. FOR SALE: Moeck Renaissance consort (SATB) in Published five times a year: January, March, May, near-new condition, with padded carrying case - September, November. $800. Moeck Rottenburgh tenor with padded carrying case - $300. Moeck bass with padded carry- Reservation Deadlines: December 1, February 1, ing case - $200. Plus several others. Contact: Giv April 1, August 1, October 1. Cornfield, 701 Koko Isle Circle, Honolulu, HI Rates good through November 2001. Please 96825-1812; 808-396-9644; e-mail: [email protected]. inquire about discounts on multiple-issue contracts, inserts, or other special requests. Extra charges for FOR EXCHANGE: One-keyed ivory-ring boxwood typesetting, layout, halftones, and size alterations. transverse flute for bass recorder comparable 133-line screen recommended. Advertising subject value. Call Raymond 914-235-8148, or e-mail to acceptance by magazine. First-time advertisers [email protected]. must include payment with order. FOR SALE: Heinrich bass recorder, old but plays For more information, contact Benjamin S. Dunham, Editor well. $250. Coolsma Aura alto, Conservatorium, 472 Point Road, Marion, MA 02738 $200. 518-446-0811; [email protected]. 508-748-1750 (bus. hrs.); Fax: 508-748-1928 E-mail: [email protected] FOR SALE: Recorder, Hohner, West Germany, solo-Luxus Konzert, original box, 1965. Also, The Re- corder Guide, by Kulbach and Nitka, 1965 Oak Publications. Both excellent condition. Contact: ADVERTISER INDEX [email protected]. AMERICAN ORFF-SCHULWERK ASSN...... 37 PLEASE PATRONIZE AMERICAN RECORDER seeks articles on re- OUR ADVERTISERS corder: history, performance practice, artists and AMERICAN RECORDER SOCIETY...... 27, 28, 29, 34, 40 repertoire, education, instrument building, etc. Al- STEPHAN BLEZINGER...... 39 so, photographs and reports of news events. Will consider artwork, poetry, riddles, puzzles. Modest JEAN-LUC BOUDREAU ...... 23, 30 honoraria by arrangement with editor: Benjamin S. BOULDER EARLY MUSIC SHOP ...... 37 Dunham, 472 Point Road, Marion, MA 02738. COLLINS & WILLIAMS ...... 40 Phone: 508-748-1750 (bus. hrs.); fax: 508-748- 1928; e-mail: [email protected]. COURTLY MUSIC UNLIMITED...... 24 SCHOLARSHIPS for recorder players to attend DOWANI AMERICA ...... 9 recorder/early music weekend workshops during HONEYSUCKLE MUSIC ...... 24 the year. Apply two months before funding is KATastroPHE RECORDS ...... 33 needed. Weekend workshop scholarships are made possible by memorial funds set up to honor KELISCHEK WORKSHOP ...... 33 Jennifer Wedgwood Lehmann and Margaret De- BILL LAZAR, MOLLENHAUER...... 23 Marsh. Contact ARS, Box 631, Littleton CO 80160; 303-347-1120; [email protected]. KEITH E. LORAINE ...... 40 MAGNAMUSIC DISTRIBUTORS ...... BC MUSIC REVIEWERS for AR needed. Reviews must be submitted by e-mail or on disk. Please send a MOECK VERLAG ...... 10 brief bio with a list of the types of music you are in- MOLLENHAUER RECORDERS ...... 30 terested in reviewing to Connie Primus, Box 608, Georgetown, CO 80444, or [email protected]. MUSIC MINUS ONE ...... IBC PRESCOTT WORKSHOP ...... 39 Classified rate for American Recorder: 60¢ PROVINCETOWN BOOKSHOP...... 33 per word, ten-word minimum. “FOR SALE” and “WANTED” may be included in the THE RECORDER MAGAZINE ...... 37 copy without counting. Zip code is one RECORDER SHOP ...... 37 word; phone, e-mail, or web page is two. SWEETHEART FLUTE CO...... 40 Payment must accompany copy. Dead- lines are one month before issue date. VON HUENE WORKSHOP, INC...... 38 Send copy with payment to: ARS, Box YAMAHA CORPORATION ...... IFC 631, Littleton, CO 80160. DOMINIK ZUCHOWICZ...... 24

40 American Recorder

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