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adies and gentlemen: the story you FEATURES L are about to hear is true.” Living La Vida Musica ...... 19 I couldn’t resist recalling those open- An expanded Opening Measures by Frances Blaker ing words to each episode of the TV show introduces life lessons gained while learning the recorder Dragnet, which predates today’s “reality” shows by nearly 40 years—except that, in the stories printed in this issue, no names 6 DEPARTMENTS have been changed to protect the innocent (as the show’s opening went on). These Advertiser Index ...... 48 stories (page 19) reflect real experiences. Book Reviews ...... 32 Perhaps you’ll see some of yourself in their writings; and perhaps you’ll realize, as Chapters & Consorts ...... 34 they have, that learning the recorder may Classified ...... 48 teach us more than we thought it would. Compact Disc Reviews ...... 46 In an expanded Opening Measures 11 column, Frances Blaker prefaces the Music Reviews...... 40 stories with her advice on how to get On the Cutting Edge...... 39 the most out of your recorder playing. President’s Message ...... 3 Other stories in this issue describe how the recorder is being used in social Q&A ...... 30 activism (page 6), to bring positive expe- Tidings ...... 4 riences to children affected by HIV/AIDS. Thiemo Wind’s “promotion”; Recorder Music Center update; A completely different type of story 19 documents the end of the years of work recorder activism; the Recorder at the 2006 Berkeley Festival; required to achieve an advanced degree Play-the-Recorder Month activities; competition news in music—congratulations to Thiemo ON THE COVER: Wind (page 8). Musical Bubbles A greeting similar to Dragnet’s opening Oil pastel by words has long been associated with the artist/illustrator circus—“Ladies and gentlemen, boys and Bonnie Diane girls, and children of all ages!” Those Gummow ©2006 words still invite us to watch feats of amazement—but this time the amazing feats happened during this summer’s Berkeley Festival (page 11), as described GAIL NICKLESS, Editor by a dedicated team of volunteer writers. Contributing Editors Two special individuals received ARS FRANCES BLAKER, Beginners; JOHN H. BURKHALTER III, Book Reviews awards during the Berkeley Festival— THOMAS CIRTIN, Compact Disc Reviews; JODY L. MILLER, Education Constance Primus, the Presidential CONSTANCE M. PRIMUS, Music Reviews; CAROLYN PESKIN, Q & A Special Honor Award recipient, gives her TIMOTHY BROEGE, 20th-Century Performance LISA SCHMIDT, Design Consultant time to this publication as its Music Reviews editor, keeping a steady stream of Advisory Board information flowing to members about Martha Bixler • Valerie Horst • David Lasocki music available for purchase (page 40). Bob Marvin • Thomas Prescott • Catherine Turocy Distinguished Achievement Awardee Kenneth Wollitz Marion Verbruggen’s activities often Copyright © 2006 American Recorder Society, Inc. make the news in these pages—and, Visit AR On-Line at
6 American Recorder PRESIDENT’S MESSAGE ______ARS as the recorder’s advocate
uring my past four years as president, introduced hundreds of students to the like this. In any event, D I’ve often mused about what the ARS recorder, working hard to promote it as a it is good news— is doing, and what we should be doing. serious instrument (not just a pre-band for the recorder world, I’ve invited everyone, members and instrument or a musical toy). Her students the South Windsor non-members alike, to e-mail with ideas have had the opportunity to play in schools, and current and comments. I’m grateful that some ensembles (including performances and future students— folks have e-mailed me with suggestions during the Boston Early Music Festival), that the program will on everything from membership develop- and to learn multiple instruments. The remain intact for ment and scholarships to chapter thought of this program’s demise because another year. relations. It is critical that the Board of budget cuts was devastating. knows what members feel is important. Numerous individuals wrote letters of If we don’t act, The Board often discusses how it can support to the South Windsor school help promote the recorder in schools. board. On behalf of the ARS, I also sent who will? Without young recorder players joining a letter to the school board. I explained the ranks, recorder playing in this country that Sue’s program is a real success story This experience was an eye-opener for would face a grim future. Teacher training in the recorder community, and a me. I realized that this is one more thing is an essential element of keeping the perfect example of how a school system— that ARS can do to ensure the future of the recorder alive in our schools. We are along with students, parents and recorder in our schools—advocacy. We excited that this summer Amherst Early teachers—can work together to create can write letters, activate local members Music Festival offered “Flutes and Drums a truly successful musical experience in to raise their voices, and work with teach- around the World,” a seminar for class- a public school setting. ers to educate school administrators and room recorder teachers taught by Nina Athletic programs get support and communities that music is important. Stern and Mauricio Molina. We’d love to offer rich experiences for young people; And, moreover, we can let them know see imaginative and inviting programs like so should music programs. that the recorder is a perfect way to do it. this for teachers throughout the country. It was exciting to hear that ultimately If you should hear that the recorder Last spring, an ARS member e-mailed the South Windsor school board decided program in your town is in jeopardy, me about the impending elimination of to keep the program intact. I’d love to we want to know. The ARS Board Sue Riley’s recorder program in the South think that letters from ARS members alone would be happy to work with teachers, Windsor (CT) public schools. Sue’s influenced the decision, but I know that, chapters, and any interested recorder program has been a model one. She has realistically, many factors affect decisions players who see that local recorder programs for youth are at risk. It’s the future of recorder playing that’s at stake. If we don’t act, who will? Wishing you a musical fall, Alan Karass, ARS President
September 2006 7 TIDINGS ______FRQ tours U.S.,competitions and concert reports ______the recorder used as an instrument for social change Flanders Recorder Quartet and Susan Hamilton open 2006-07 BEMF Season The Boston Early Music Festival poets such as William Shakespeare and For nearly two decades, FRQ has (BEMF) opens its 2006-2007 season with Ben Jonson, while the music’s expressive astounded international audiences and the return of the Flanders Recorder melodies and floating rhythms were writ- critics alike with their “blazing speed, the Quartet (FRQ) on November 4. The four ten by distinguished court composers sharpest ensemble precision and rhythm, players—Bart Spanhove, Han Tol, Joris such as Byrd—the apple of Queen intensely present sound, flawless intona- Van Goethem and Paul Van Loey— Elizabeth’s eye. tion, clear and compelling phrasing, and a and their magnificent collection of 150 Elizabeth’s father, Henry VIII, had startling range of dynamics” (Milwaukee recorders are joined by Scottish soprano played an important role in popularizing Journal-Sentinal). Their daring and unique Susan Hamilton for a program entitled ensemble music and had been a programs have been heard in concert “The Darke is My Delight: English passionate recorder player himself. Raised throughout the world and on over a dozen Consort Songs of the Golden Age,” which in these inspiring surroundings, Elizabeth recordings, and the players have been explores the ethereal melancholy was (not surprisingly) passionate about lauded for the “technical perfection and and melting harmonies of 16th-century music and cultivated the consort song in stylish interpretation [which] are the English songs by William Byrd, John particular. unmistakable trade mark of the Flanders Dowland and Thomas Morley. A free The heartrending suffering depicted in Recorder Quartet’s ensemble playing” pre-concert talk with Tol begins at 6:30 some of the works was not fatal in the end, (Deutschland-Radio). p.m. before the Cambridge, MA, event. but rather symbolized the ideal of courtly BEMF 2006-2007 season subscrip- See this issue of the ARS Newsletter for love and showed a longing for refinement tions and individual tickets are on sale other U.S. locations where FRQ will play among England’s large and wealthy at
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8 American Recorder RECORDER COMPETITION FOR STUDENTS AGES 12-19 Piffaro, The Renaissance Band, plans to pique the interest of young recorder players by holding a recorder competition open to middle school and high school students. There have been a number of such opportunities available for university students, but Piffaro aims to build in younger performers an interest in the joys of performing the repertoire of the 15th century through the early 17th century, on recorders as well as other early wind instruments. The competition is open to students in seventh through twelfth grades (12-19 years of age). Five to six finalists will be chosen by a panel of professional recorder players and teachers, based primarily on a CD submitted of each applicant playing live. These finalists will come to Philadelphia, PA, for a live competition in January 2007. The winner will have the opportunity to perform with Piffaro in a program featuring the recorder. This program, “Sweet Pipes: The Art of the Recorder,” will take place on February 23-25, 2007, in Philadelphia. Piffaro members, plus the winner of the competition, will be joined by recorder players Daphna Mor, Doug Millikan and Priscilla Smith for performances that will feature the full consort of recorders from contra bass (not one, but two!) to soprano. Piffaro’s plucked strings, double reeds and brass will be the supporting characters. The process and the timetable are: September 30: postmark deadline for letter of intent to apply November 15: postmark deadline for CD and supplementary materials December 15: announcement of finalists January 20, 2007: live competition of finalists in Philadelphia, PA February 21-25, 2007: rehearsals and performances with Piffaro in Philadelphia Travel expenses will be covered for the finalists, and housing as needed will be provided in private homes in the Philadelphia area. For more information, contact Joan Kimball at
September 2006 9 The Recorder takes a Stand: Two Stories Over the years I have used the recorder in volunteer work for social justice. As an Israeli, I have raised money and volunteered in a summer camp in Palestine, organized by a Palestinian-Israeli partnership (see photo at left). I have also volunteered weekly for a year and a half, teaching recorder in a facil- ity, called “The Fountain House,” for adults with mental disorders. Next January, I will travel to South Africa to volunteer in a camp for children. The camp is organized by WorldCamps, a U.S.-based non-profit corporation whose goal is to provide a camp experience for children affected by HIV/AIDS in developing countries, and to change prevailing attitudes and behaviors towards AIDS. This camp includes children who have family members that are HIV+, as well as children who are HIV+ themselves. At camp, we hope to impart HIV/AIDS awareness and prevention, as well as crucial life skills to the children, who are between 10 and 15 years of age. The three-week camp provides a place for the children to play and relax, and to meet other children in similar situations. Daphna Mor plays recorder in a Palestinian village I will teach music at the camp, and my hope is to bring about 200 plastic in South Mount Hebron, during a summer camp Yamaha recorders—one for each child to use and then to keep at the end of the arranged by a Palestinian-Israeli partnership camp! I will teach the children the basics of playing the recorder and encourage called Ta’ayush,
10 American Recorder Bits & Pieces
ARS President Alan Karass, a music Carolina Baroque, with music direc- 1127); and a concluding concert on April librarian by profession, attended the tor/recorderist Dale Higbee, will focus on 13, 2007, “Handel and Italy” (contrasting fourth International Conference on New music of G. F. Handel for its 19th season of works by Tomaso Albinoni and Domenico Directions in the Humanities held at the concerts at the Salisbury Bach and Handel Scarlatti with vocal works by Handel University of Carthage in Tunis, Tunisia, Festival in North Carolina. Slated are an including the cantata “Delirio amoroso”). July 3-7. The conference web site, October 13 performance, “Handel at the For more information, see
September 2006 11 Thiemo Wind’s “Promotion” eaders of AR will be familiar with language improving slowly. Still, it took just as Van Eyck was in his own day. We R Thiemo Wind as the author of a me a whole month to make it through the went up to the top of the Nicolaïkerk (St. number of fine articles about Jacob van entire text. I had been asked in the first Nicholas’s church), where Abbenes plays Eyck’s Der Fluyten Lust-hof, some of which place to give a “yes or no” about whether every Sunday afternoon, and for an hour have appeared regularly in the magazine the dissertation was ready to go forward he gave me an astonishing demonstration since 1986 and are also posted at for defense. Clearly, it was ready: a of what’s possible for a virtuoso on a key-
12 American Recorder Thiemo (center) and his wife Mattie (r) are congratulated by Dr. David Lasocki (l) after the ceremony Then the candidate goes out, the com- the “finishing energy” needed mittee decides whether he or she has to turn in his dissertation after passed—invariably “yes,” or the defense many years of research, I would never have been approved in the thanked him for taking recorder first place—and the candidate returns and research seriously. “Although is congratulated. The resulting doctoral the instrument may not loom diploma is awarded at the end of the large in the great scheme of semester at graduation. things, it has been played by This promotion, in contrast, was a professionals, amateurs, and combination of public defense and award learners from the Middle Ages ceremony. At 10:30 a.m. on the dot, the to the present: an important committee was summoned by a gowned secondary instrument.” bailiff carrying a staff, and we marched In my first question, I into the Senate Room of the university and mentioned the impression sat down at one end of the room at a I had received from hearing Abbenes some significant figures in the Dutch formal desk with individual microphones. play the carillon that the instrument could early-music world: Guido van Oorschot, At the other end was the audience: no do anything a recorder could do, except the man who organized the STIMU fewer than 120 people. In between, on the play 32nd notes. Wasn’t Van Eyck’s recorder symposium in 1995, now a right hand side, opposite the door, recorder music, then, really only carillon journalist; Johannes Boer, his successor, stood Thiemo at a lectern, with his two music without the accompaniment? who organized the 2003 symposium; paranimfen (literally, paranymphs) seated Thiemo didn’t think so: the carillon style Pieter Dirksen, a freelance harpsichord nearby to offer moral support. (He told me influenced the recorder style, as he had player and expert on Jan Pieterszoon later that one of them, Professor Eddie written, but the latter was ultimately more Sweelinck; Jan Bouterse, the greatest Vetter, read and proofread every word of virtuosic, sometimes more ornamental. authority on Dutch woodwind instru- the dissertation and gave him a mock In my second question, I wondered ments and their makers; and Saskia promotion the week before.) Apart from why he had concluded that “the others” Coolen, a fine recorder player, who took my little section, all the proceedings were were on a par with Van Eyck, when he had part in a splendid mixed-genre CD of in Dutch. also complained that Jacob Dicx was a Van Eyck’s music a few years ago. After- poor composer, and the publisher Paulus wards, Thiemo kindly invited me out to Matthijsz was frankly an amateur. Thiemo a grand lunch with his family and After 45 minutes, before conceded the point but noted that Jacob colleagues. Professor Kuegle had van Noordt was a fine composer, perhaps Just before my afternoon lecture, even better than Van Eyck, and it’s a I checked back at the hotel: my suitcase finished his questioning pity more recorder music by him hasn’t had arrived. In my own suit and dress of Thiemo, the bailiff survived. shirt, I felt like a new man: no need for After exactly 45 minutes, before a cover-up with academic garb. The returned, rapped her Professor Kuegle had finished his lecture, on “Lessons from Inventories staff on the floor and questioning of Thiemo, the bailiff and Purchases of Flutes and Recorders, returned, rapped her staff on the floor 1630–1800,” was attended by two dozen announced that time and announced that time was up. The people gathered around a seminar table: was up.The committee committee all trooped out of the room musicology students as well as Rudolf, all trooped out of the and returned to the back room. Well, had Thiemo, and several scholars from the he passed or not? Of course he had. promotion. They remained attentive, room and returned to The diploma was duly signed by the despite the reams of facts and statistics the back room. Well, dean and both promotors, rolled up, and about all manner of “flutes,” and asked inserted in a large tube. The committee good questions at the end. had he passed or not? trooped back to the Senate Room. Afterwards, Professor Wennekes Thiemo came up with his paranymphs invited me to dinner with himself and It was helpful to me that Grijp and to receive the diploma. Then Rudolf read a his American wife, Cynthia Wilson, the De Ruiter were assigned to ask questions 10-minute laudatio, a speech in praise of artistic manager of the Rotterdam Philhar- before me, as that gave me time to reflect Thiemo. The audience laughed loudly monic Orchestra. She’s writing a book on what they were asking from their type- when he said that Thiemo began his about Menahem Pressler, a faculty written pages and to figure out what I was dissertation before e-mail existed, as if it member at Indiana University, where I going to say. As I was glancing through were in the Dark Ages. work: small world. A short, intense trip. my two pages of scribble, a loud voice in Afterwards, we all went down to a Thiemo’s dissertation will be trans- my head said: “Remember who you are.” reception for Thiemo. I had assumed that lated into English and published next year. Then I knew what to say: I was invited as a only the committee and the audience for It is a long, intense book that takes our representative of the recorder, and a strong the promotion would be there, but people instrument seriously. advocate for an instrument that has been streamed in to congratulate him for well When you read it, remember the calling to me often since my early teens. over an hour. As a journalist, he’s well “promotion.” The book itself should need So when it was my turn, after I had known. I had the pleasure of meeting no promotion. congratulated Thiemo on summoning up Thiemo’s wife and children as well as David Lasocki
September 2006 13 News from the Recorder Music Center The grand opening of the Recorder Music Center (RMC), at the July 2005 ARS Festival and Conference at Regis University in Colorado, was featured on Denver’s Channel 9 News and brought a consider- able amount of attention to the RMC. The RMC web site is updat- ed regularly and includes a report on the festival last summer; see
14 American Recorder t was easy to imagine the audience I sitting in Rome’s Piazza Navona during Ladies and Gentlemen! the extravagant carnival festivities of 1634, rather than in Berkeley’s Zellerbach Playhouse in 2006. The acrobats, Circus takes over the 2006 Berkeley Festival jugglers, mimes, singers, dancers and so beautifully together that they sounded Ensemble Vermillion (Frances commedia dell’arte actors of Le Poème like one instrument. That first set featured Blaker, recorders; Barbara Blaker Harmonique: The Baroque Carnival pieces from the Middle Ages with two high Krumdieck, Baroque ’cello; Brent Wis- entertained for a spellbinding uninter- lines moving in rapid, rhythmically com- sick, gamba; Katherine Heater, harpsi- rupted 90 minutes or so, accompanied by plex motion above a slower-moving line. chord) played a program of 17th-century a seven-musician group playing recorder, Blaker’s composition La Bella Iguana, Italian chamber music—most transcribed bassoon, cornett, strings and percussion. based on Pianze la bella Iguana in a 14th- from violin music, a practice well within This ensemble of early instruments century manuscript (the title refers not to the historical tradition of our instrument. and voices directed by Vincent Dumestre, a “pretty lizard” but to a “pretty nymph”), In Giovanni Battista Bassani’s Sonata Le Poème Harmonique, specializes in was written in the same style. Terza, Op. 5 (Bologna, 1683), a work orig- the relationship between music, dance, A highlight of the concert was an “Ars inally for two violins and basso continuo, and literature of the 17th and 18th Subtilior” piece, Fumeux fume by Solage the two violin lines were divided between centuries. Their production, “A Carnival in (fl. 1370-90) with its independent lines recorder (a custom-made Adriana Rome: Circus Arts, Music and Dances of and strange, nearly random, harmonies. Breukink tenor “Dream Flute” at a=415) the 17th Century,” was a centerpiece of Blaker’s second composition on this and ’cello. Using the wide-bored “Dream this year’s biennial Berkeley Festival program, Wind, was based on those same Flute” instead of a Ganassi-type soprano held June 4-11 in various Bay Area loca- harmonies. Linsenberg joined the trio on (more usually heard in this repertoire) tions in California. In this spectacular Wind; the ensemble consisted of three gives a darker, organ-pipe-like sound, and production, Dumestre and choreographer bass recorders and a viola d’amore. Those works very well with this combination. Cécile Roussat created the illusion of harmonies, when placed in the An amazing level of textural variety was improvisatory music, theater and dance— tessitura of the low recorders, produced presented as Blaker changed among a performance appealing to children of all the effect of beat tone—the sort of “wah- Baroque alto, Terton soprano, Ganassi ages, as ripples of laughter were heard wah” sound heard when tuning, but here soprano, and the tenor “Dream Flute”— from even youngsters in the audience. a deliberate artifact of dissonances in the with the ’cello, viola da gamba and harpsi- The performances by Le Poème low tessitura. Wind also employs the chord combining in varying ways, either Harmonique were sponsored by Cal Per- modern equivalent of Medieval rhythmic with the recorder or on their own, in works formances as it stepped back into the ring complexity, here directed by Blaker’s feet. of Isabella Leonarda, Giovanni Battista to sponsor events at this year’s Berkeley Another Blaker composition, Cléa and Vitali, Alessandro Stradella, Tomaso Festival (which was canceled in 2004 due the Sitka Frogs, was written on April 1. Antonio Vitali, Antonio Bononcini, and to financial problems). Cal Performances Instrumentation here was Kammen and Tarquino Merula. The Vitali Sonata No. 12, was still assisted this year by organizations Berlin playing wooden frog toys, in a Op. 4 – Follia is a set of variations on the that coordinated and sponsored some rhythm pattern derived from Morse code, familiar “La Follia.” Here it was refreshing events two years ago. plus a jazzy melody on soprano recorder to hear Follia variations that were not The week’s fringe events, again coordi- provided by Linsenberg, and a rhythmic based on the ubiquitous Corelli set. The nated by the San Francisco Early Music bass line from Blaker on bass recorder. alto recorder and ’cello tossed the increas- Society (SFEMS), started on June 5 with The final set comprised two Scandina- ingly florid divisions back and forth, over the Sitka Trio—Frances Blaker, vian folk-style waltzes—Kammen playing gamba and harpsichord continuo. recorders; Letitia Berlin, recorders, accordion, Berlin on ukulele, and Blaker ukulele and voice; and Shira Kammen, on recorders (soprano and tenor). The vielle, harp, violin, viola d’amore and intimate audience showed their apprecia- Here it was refreshing to voice; with guest artist Judith tion and brought the ensemble back for an hear Follia variations that Linsenberg, recorders. encore—those Sitka Frogs again. The Sitka Trio came together during a (The trio will change its name soon to were not based on the 2006 residency at the Sitka Center for Art Rana Aurora. Look for more enjoyable and Ecology in Oregon, where Blaker playing under that name in the future.) ubiquitous Corelli set. composed and Berlin studied Medieval By June 8, the activity level had picked music. Kammen joined them for about a up as another key player from 2004, The final piece on the program was week of rehearsals during their residency. Early Music America (EMA), began its Blaker’s arrangement of Merula’s Sonata a The Monday afternoon concert conference schedule (see page 13 for a 3 in a minor, Op. 17 (Venice, 1651). The displayed the fruits of that residency in report on sessions of interest to recorder music of this period is extremely florid and works from the 14th and 15th centuries, players and of an ARS round table session). virtuosic, and everything here was beauti- plus new works by Blaker and Kammen. While panel discussions and concurrent fully played. Lines were shaped with The program opened with Oscelletto sessions on “The Early Music Entrepre- deceptive ease. Blaker’s seemingly wide selvaggio by Jacopo da Bologna, with neur” joined the mix, fringe events dynamic gradations came without distor- Kammen playing a slow-moving line on continued as Ensemble Vermillion tions of tuning, while still playing expres- the vielle and the two recorderists entering performed at noon in the intimate sively—the end of an exciting concert that on soprano Ganassi recorders in a unison acoustics of Trinity Chapel. the audience applauded enthusiastically.
September 2006 15 Sonja Gruys and Rebekah Ahrendt, in a playful moment after the Disperata concert.
The University of in the historic division of the North Texas (UNT) col- 2005 National Trumpet legium musicum’s fringe Competition. His well- concert later that day developed brass embouchure focused on music at the gives him a command of Court of Ferrara under volume and tone on the Duke Alfonso II. An cornetto—ranging from the ensemble of seven more trumpet-like timbre PHOTOS: singers, continuo (harp- (clear but not strident) GAIL NICKLESS AND CHARLES sichord, organ and two lutes) and a cor- displayed during his solo, to a Gruys’s recorder playing exhibited a COLDWELL netto player—all under the direction of softer, slightly covered, and more vocal or variety of tone color and shadings, effort- Lyle Nordstrom—gave entertaining and woodwind quality when playing as part of less fingering and tonguing of the rapid ear-opening insight into the extraordinary the ensemble of voices in Marenzio’s passaggi—plus a command of articula- virtuosic musical life of the late Italian Cantate ninfe. Harvey commented after the tions coupled with her overarching vocal Renaissance. performance that, just as the treatises style of phrasing. The virtuosic aspect of A special treat for recorder and Renais- commend, he strives to model his sound these elements were most evident in her sance wind players was the performance and articulation after the voice. exciting performance on soprano recorder of Giovanni Bassano’s diminutions on And the remainder of the concert pro- of Castello’s familiar Sonata prima (fluent- Clemens non Papa’s Frais et Galliard from vided excellent examples to emulate, as it ly executing its highly ornamented middle cornettist Nicholas Harvey (above left). featured music composed for the concerto section). Her well-defined interpretation The cornetto was the major virtuoso delle donne, the most famous vocal ensem- of his Sonata quarta—on a full, woodwind of the late Renaissance and ble of its time formed around a core of rich-toned “transitional” G alto (by early Baroque. This was a rare oppor- three exceptional women singers. The full Stephan Blezinger)—was a highlight tunity to hear this piece performed on the vocal ensemble’s mesmerizing interpreta- of the concert, presenting a wide instrument for which it was probably tion of Gesualdo’s madrigal, Io pur respire, range of moods building up to a intended; Bassano himself was a noted transported listeners to another universe. tension-filled final cadence. Venetian cornettist. The exuberance and performance level Her vocal-centered approach to this of this group is a special treat that should music is due in part to her training as a Because cornetto is not be missed, rewarding the listeners in singer, and was especially evident in her the small Festival audience with some rare performances of diminutions on madri- difficult to play well, musical rewards. gals and motets. Eschewing the flashier A mere few hours later, the fringe soprano or alto recorder, she performed and not commonly heard, concert “Disperata plays Abracadabra” these works at voice pitch on a cylindrical it was surprising to picked up where UNT left off with its own tenor recorder after Rafi (by Francesco exploration of 17th-century virtuosic Li Virghi), an exquisite instrument with a have it featured in music. Disperata was founded by Dutch luscious tone. This gave the pieces more of recorder virtuosa Sonja Gruys and gam- an ensemble quality than that of a virtuoso three separate concerts bist Rebekah Ahrendt in 2000, during vehicle for solo recorder. While the studies at the Royal Conservatory of The recorder sound was sometimes lost in the during the Festival. Hague, the Netherlands. They were joined competing sonorities of the organ, in the in this concert by organist Xavier Arreola small St. Joseph of Arimathea Chapel’s Because cornetto is difficult to play and Alex Jenne on theorbo, both provid- reverberant acoustics, the overall effect well, and not commonly heard, it was sur- ing solid and sensitive continuo support. proved well worth that risk. prising to have it featured in three separate “Abracadabra” are the “magical A wonderfully effective touch in the concerts during the Festival (the other diminutions, canzone, and sonate” of closing Salaverde was the contrast of the two performances being by Le Poème Frescobaldi, Castello, Bovicelli, Rognoni, dialogs, between solo recorder paired with Harmonique and The Whole Noyse). and Selma y Salaverde. During the early theorbo and solo gamba paired with or- Harvey’s effortless performance belied 17th-century, virtuoso instrumental mu- gan, as well as the full tutti sections. At the the difficult demands of both the instru- sic expanded from diminutions and varia- end, the appreciative audience enthusias- ment and Bassano’s diminutions on the tions on chansons to newly-developed tically applauded this well-conceived superius (soprano part) of the chanson. genres of canzonas, sonatas and toccatas program, excellently presented by this His clear, direct, centered tone, impecca- independent of vocal models. tight ensemble of talented musicians. ble intonation, and subtle use of dynamics The majority of their program featured The day was not done: the Albany and varied articulations all contributed to the recorder, except a Frescobaldi organ Consort performed an ambitious, a flowing, “vocal” interpretation. Julia toccata and Rognoni’s diminutions for difficult program of rarely-heard (in live West provided solid support on the harp- gamba (with theorbo accompaniment) on performance) works on Thursday evening. sichord, playing a reduction of the other Rore’s Anchor che co’l partire—both played The 16-piece ensemble set up in the mid- three unadorned voices of the chanson, effectively and with verve and virtuosity. dle of the University Lutheran Chapel, playfully adding improvised runs in re- Ahrendt was also impressive in Vestiva with the harpsichord at its center and the sponse to those from the cornetto. i colli (Palestrina/Salaverde), an exciting rest of the musicians clustered around on Also an excellent Baroque trumpet tour de force as much for the gamba as for three sides. The audience sat on two sides player, Harvey received the highest award recorder. in an “L” shape.
16 American Recorder The program opened with Johann Three sessions during the Berkeley Festi- development as a strategic, long-term, David Heinichen’s Concerto in C for four val focused on marketing and audience and integrated process. recorders, strings and continuo, a work not development. Two of these were part of Daly said that audiences want to often heard performed live, with soloists the Early Music America conference have an “experience”—a meaningful Marion Rubenstein, Carol Panofsky, during the festival: Vicki Allpress’s and memorable, yet convenient, arts Herb Myers and Annamaria Prati. “Effectively E: Web and E-mail Marketing encounter that they can talk about and The first and last movements are for Music Organizations”; and Ann share with like-minded people. energetic, featuring all four recorder Daly’s “Developing the Audiences You She explained that there are three soloists with the string orchestra. The two Want.” The third was the ARS Profession- types of audience development. The first, middle movements, however, are for only al Recorder Player’s Round Table, “Devel- broadening, is attracting more of the same a single recorder soloist—Rubenstein oping Concert Audiences.” All three kind of people you currently attract. The here. Possibly a result of where the audi- sessions offered a wealth of information second, diversifying, is attracting different ence sat in relation to the performers, on issues critical to music organizations. kinds of people to your audience. And last these two movements were not as Allpress, marketing manager for New is deepening—increasing the level of in- effective as the outer ones. (For example, Zealand Opera, discussed the three key volvement of current audience members. on Marion Verbruggen’s recording with aspects of effectively marketing via e-mail Daly’s plan lists five steps to audience Musica Antiqua Köln, the recorder in and the web. The first is to create a web development: the organization’s mission the Pastorell movement mimics a site that works—with a clear purpose, an must be reviewed; its target audience musette, an effect missing here.) attractive look and feel, a logical structure, determined; information gathered, The second piece on the program was good design and functionality. It must be informally or formally, from audience J.S. Bach’s Cantata No. 82, “Ich habe up-to-date as well as easy to navigate. members; strategies based on the genug.” This was performed in a version Visitors should be able to find what they gathered information implemented; and other than Bach’s February 2, 1727, need quickly and leave satisfied. Often, a the entire process assessed and refined. original—to which he returned in simpler site is easier to manage. The ARS round table was led by five 1745-48 after various changes in scoring. The second task is to attract people to panelists who are actively involved in con- The vocal soloist was soprano Christa the web site. This is accomplished by get- cert presenting: Frances Feldon, Eileen Pfeiffer, rather than the usual baritone, ting high rankings in search engines, trad- Hadidian, Meryl Sacks, Marilyn Mar- and the wind obbligato usually heard on ing links to the site from other sites, using quis (all of California’s Bay Area) and oboe was played on traverso by Greer e-marketing tools such as ’blogs and on- Cäcilia Lauenstein-Larivière (of Mon- Ellison. Both soloists fulfilled their roles line forums, and using off-line promotion. tréal, QC). Their suggestions supported beautifully, with lovely tone and wonder- The third is e-mail. Create a list of many of those made by Allpress and Daly. fully shaped lines. The opening and e-mail addresses through a “join our They stressed that post-concert recep- closing movements were energetic, e-mail list” button on your web site, tions are important—to offer audience although in the center movement, through your membership list, and via members an opportunity to mingle, talk “Schlummert ein,” the bass instruments partnerships with other organizations to the musicians, and talk amongst them- seemed more relentless than one expects that offer exchanges of links in e-mails. selves. They encouraged those attending in a lullaby—again perhaps the result of It is important to use e-mail sensitive- the session to communicate effectively the audience configuration or the ly. Reassure your audience that your via mail, e-mail and in person. Build a acoustics of the room itself. e-mail list is only used appropriately, con- mailing list, and encourage friends, family After a brief intermission, the program sider carefully what you ask people to do and students to attend concerts and invite continued with Johann Friedrich Fasch’s via e-mail, and make sure requests for in- others. Panelists urged all to talk to every Sonata for flute, two recorders and basso formation are within the limits of the law. person they meet about what they do. continuo, one of only six surviving works It is also essential to keep e-mail Joint ventures with other musicians using both traverso and recorder. It is a lists current and simple to manage. The were thought to be especially fruitful, to mini-concerto, with traverso (Ellison) as sign-up and sign-out process for broaden the potential audience base for soloist and the two recorders (Rubenstein subscribers should be easy, as should the all. Variety and creativity are important. and Panofsky) functioning as ripieno. option to update an e-mail address. Bold marketing is critical, in these The sonata was very well played, with the Regular e-newsletters are wonderful times when there are many forces vying balance just right. promotion tools that keep patrons in for audience members. Some of the pan- Vivaldi’s (chamber) Concerto in g touch with the organization. An organiza- elists suggested offering door prizes to minor for recorder, oboe, violin, bassoon and tion’s e-newsletter, web site, and e-mails audience members, or presenting themed continuo closed the concert. Soloists should have a consistent look and feel. concerts in unique settings. Overall, they were Rubenstein, recorder, Panofsky, Last, organizations must continually agreed that concert development requires oboe, Kate Button, violin, and Byron assess all forms of communications to long-term involvement on the part of Rakitzis, who offered nice bassoon determine what works and what does not. musicians and audiences. playing. Daly from ArtsConsulting in Austin, All three sessions offered a wealth of Throughout the performance, TX, outlined four principles of under- information for musicians and concert Jonathon Salzedo led from the harpsi- standing audience development: identify- organizers. In each case, presenters chord, and the continuo was rounded out ing what the audience wants, viewing stressed the value of clear, concise and by ’cellist Amy Brodo, often with help your work from the audience’s perspec- timely communication, audience involve- from Rakitzis on bassoon—an enjoyable tive, building relationships with your ment, and ongoing assessment. evening and an audience-pleaser. audience, and understanding audience Alan Karass
September 2006 17 Seen in the exhibition (clockwise from right): Kathy Sherrick in the ARS booth; Glen Shannon, bookended by (Leah Norwood, Linda Fisher, Ellen Boulder Early Music Shop proprietors Johnsen, Britt Ascher and Susan Kim Shrier and Carol Deihl; Susan Richardson), appropriately playing Richardson discussing a purchase Ludwig Senfl’s Tandernac II; Helga with Tom Prescott (while Tom Bickley Wilking, playing Meditation by Hirose; browses next door); Eileen Hadidian Sabine Djernaes, offering a Telemann and Bickley admiring recorders by fantasie; and Rebecca Molinari, playing Ralf Netsch (seated, right front); part of a Hotteterre suite. Gerry Greer chatting with Verbruggen’s advice was always Marion Verbruggen; Kirby Leong, tailored to the playing level demonstrated. demonstrating the type of electric viol Sometimes it was musical in nature—to played on Frances Feldon’s jazz event. the group, “the bass player can’t be shy”; all parts are important and each may need to use different starting consonants to pro- duce an articulation matching the other voices. Or to Wilking: “enjoy the notes,” while mentioning that it was fine to play the “hurricane” notes slower, rather than too fast, in order to be able to play all of the notes, and to allow the piece to build and evoke the musical idea of a shakuhachi. At two times during the master class, she made a practical observation that a player should not duck the head (a com- mon problem if the player doesn’t have glasses for playing music!). Ducking the head constricts the throat and affects tone. She suggested rolling the head down (as if a string were pulling up on the back of the neck), allowing more space in the mouth. The three hours zoomed by: “I don’t believe it,” Verbruggen said when given the last five-minute warning. The evening’s diversions were twin performances by Flauti Diversi (Frances Feldon, recorders and traverso; Karen Clark, contralto; Rob Diggins, violin; Ken Berman, piano; Dan Reiter, ’cello; Roy Whelden, electric viol and viola da gamba; Micah McCain, drum set)— certainly among the most unusual and interesting events on the festival fringe. Performing at 5:30 p.m. at the Berkeley Jazzschool, then repeating the program June 9 offered morning at 6:30 p.m., the ensemble presented time to visit the exhibition, “Counterpoint: Bach and the Beatles.” sponsored by EMA, then an The Jazzschool performance space is afternoon master class with intimate, set up in cabaret fashion with Marion Verbruggen across chairs clustered around tables. Coffee, the street in the live acoustics light entrees and desserts are available. of the Berkeley City Club The program opened with a very ballroom. About 35 observers straightforward and historically-informed listened intently as playing of the Contrapunctus I from Verbruggen worked with one J.S. Bach’s Die Kunst der Fuge. The pianist group and three soloists: then began an improvisation on Rogers the quintet T’Andernac and Hart’s My Funny Valentine, leading
18 American Recorder Frances Feldon (r) is congratulated by audience members at the Jazzschool concert. ers who attempt that litera- Music of the great Irish harper ture; every note sounds Turlough O’Carolan, plus other right and is placed with traditional Scottish melodies, made up the care. A climax of his portion “Celtic Spirit” program offered by Eileen was his own 2003 piece, Hadidian with harpist Natalie Cox. The Repose for solo alto in g, playing put the “focus on beautiful performed in memory of his melodies,” especially in selections like the friend and former teacher spirited Rocky Road to Dublin and the Scott Reiss—he mentioned familiar haunting Skye Boat Song. Having the connection between the played together for years, the duo improvisation ideas used in combines their instruments (at times, modern music and in early recorder or Baroque flute from Hadidian) and folk music. This mini- so effectively that unison doublings often into Feldon’s ensemble version of that malist work ended meditatively, like rain sound like only a change in timbre. American standard ballad. Using violin, stopping, a sole note its last drop. A long journey from Montréal, QC bassett recorder, electric viol, piano, Rebecca Molinari chose a program (where Molinari also now studies with ’cello, and trap set to back Clark’s lovely geared to show “what the recorder could Maute), brought Cäcilia Lauenstein- vocal rendition, Feldon had crafted a do back then and now,” with the “now” Larivière to Berkeley to close the Relay’s velvet curtain of sound to support the represented by two pieces written by offerings. She invited the audience to vocal line. The arrangement opened up Matthias Maute. In his Dynamics (1990), journey back with her in time, starting to improvised solos by violin, ’cello and her nicely-executed chiffs and pitch bends with J’aime la fleur by Guillaume de soprano recorder. gave way to a section with quasi-Baroque Machaut—ending it with sung notes as The next set consisted of the violin and cadences. Hans-Martin Linde’s Music for a she changed instruments, seamlessly ’cello playing Bach’s Contrapunctus 14 Bird (1968) required her to add to her leading into Ropert Heppener’s Toon- (Canon per Augmentation in Contrarium techniques sputato, flutter-tonguing and ladder. She was very relaxed as she played Motu), again in fine early music style. Then singing while playing—all done smoothly. at extremes of range, sang while playing followed Feldon’s arrangement of George Harrison’s Here Comes the Sun (from the After the Recorder Relay: Beatles’ Abbey Road album). The drummer (left) audience members Cléa set a rock beat, and Clark sang again with Galhano (l) and the “Franci”— a lush accompaniment from the group. Frances Blaker (c) and Frances The last set began with another of the Feldon (r); (below) Relay Art of the Fugue Contrapuncti—here Num- participants Tom Bickley ber 13, Rectus Inversus—Feldon on traver- and Rebecca Molinari; so, with violin and gamba. Two more fine Feldon arrangements rounded out the hour—Lennon and McCartney’s Michelle and Norwegian Wood. This eclectic program showed off the tremendous versatility of the artists as fine exponents of historical style and as utterly convincing jazz/pop stylists. Feldon’s arrangements exhibited a mastery of jazz writing—a real (bottom right) Relay participant understanding of bass lines and harmony, Cäcilia Lauenstein-Larivière and of how to write accompaniments that visits with Charles Coldwell; support yet don’t get in the way. (below) Gail Nickless of AR and The busiest day for recorder players Ben Dunham of Early Music America was undoubtedly Saturday, June 10, start- catch up on magazine editor business. ing in Trinity Chapel with the morning’s ARS 14th Annual Great Recorder Relay. The short concerts exhibited much variety—being played by established and emerging recorder performers alike, from the U.S. and Canada, and employing repertoire from the 14th to 21st centuries. Tom Bickley took the early shift, waking up the crowd’s ears with four pieces written in the last 30 years—begin- ning and ending on pieces where he was joined by keyboardist Maryliz Smith. Bickley always takes command of modern music in a way that eludes other perform-
September 2006 19 A dozen or so remained at St. Mark’s particular note was Marco Uccellini’s Episcopal Church after the town hall Sonata Decima Ottava (from Sonate, cor- meeting for a round table discussion (see renti et arie, Op. 4, Venice, 1645), where the separate report earlier in this coverage). Judith Linsenberg’s soprano recorder Others walked around the corner, back playing contrasted beautifully in duets to Trinity Chapel, for Baroque Etcetera’s with Elizabeth Blumenstock’s violin. “Pallas Nordica: A Swedish Queen in The second half brought a surprise Rome.” Known as Pallas Nordica (after visit by Baroque dancers Linda Tomko Greek goddess of wisdom and the arts Pal- and Melinda Sullivan, whom audiences las Athena), Queen Christina of Sweden might remember from last year’s Boston (1626-1689) cut a colorful figure in 17th- Early Music Festival opera production. and executed pitch bends. Two works by century Europe. She abdicated her throne The arrival of the costumed dancers her teacher Maute ended the segment— in 1655, converted to Catholicism, and during André Campra’s Suite from Les with the jazzier Once there was a child moved to Rome, where she established Festes Vénitiennes was met with feigned offering its punctuated stinger as the herself and her two Academies to bring wonderment from the full six-member en- conclusion of the Relay event. together painters, poets, musicians and semble (audience members had been After enough time to grab lunch, others. In her first Academy, each meeting wondering, in a different way, why MP had recorder players assembled for an hour- ended with a concert; in her second, each moved to “stage right” during intermis- long play-in led by Frances Blaker opened with an instrumental work and sion: to make space for dancing). and Cäcilia Lauenstein-Larivière at closed with a vocal one. Christina’s Acad- The large crowd of about 500 came to St. Mark’s Episcopal Church parish hall, emies contributed greatly to development hear the excellent ensemble playing that with most remaining for the ARS town hall of the cantata, trio sonata and concerto. one expects from MP—for instance, in the meeting that followed. Moderated by ARS The musical lives of the composers way that jigsaw puzzle arpeggios fit president Alan Karass, the lively discus- presented by Baroque Etcetera—Lonati, together between Linsenberg and oboist sion included topics such as meeting Stradella, Alessandro Scarlatti, Corelli Gonzalo Ruiz in a set of works by Gio- players of other instruments to form and Pasquini—were intertwined; they vanni Battista Vitali after the intermis- ensembles and how ARS can better market performed with each other, belonged to sion—and they were not disappointed. itself. The latter topic elicited various the same musical institutions and occa- The program ended with part of the audi- ideas, including that ARS could serve as a sionally composed together. An enthusias- ence in a standing ovation, but perform- “switchboard” to connect recorder players tic crowd of 30 heard pieces written by ance times were tight: no encore. with other musicians. A question from the them, performed by an ensemble of 11— Immediately after the MP concert, two floor asked if ARS could explore the possi- singers, strings, a very busy harpsichordist ARS awards were presented on the Hertz bility of helping chapters with liability Dawn Kooyumjian (playing well on Hall patio: to Marion Verbruggen, the insurance (in the way that the SFEMS does every piece), and recorderists Glen Shan- Distinguished Achievement Award; and to with its affiliates); this led to a discussion non and Rebecca Molinari (l and r, above Constance Primus, the Presidential of what the relationship of the central ARS left). A highlight of the concert’s first half Special Honor Award. Well-wishers had organization is to its local chapters. was the combined efforts of the two traveled from all over the world to fête Another relevant topic was that of recorder players on the chamber cantata these two women—Verbruggen, whose trying to find ways to bring back “Augellin vago e canoro” by Alessandro numerous recordings are held up as the beginning recorder classes to local adult Scarlatti. Their pastoral thirds, with epitome of recorder-playing worldwide; education or recreation programs. The nicely planned ornaments thrown in, and Primus, whose creative leadership meeting concluded with a discussion of contributed to a good ensemble effort with within the ARS has been felt for many what individual members can do for the the soprano soloist and basso continuo. years and continues in her contributions organization, and how to train members Shannon was later in the spotlight in to music reviews in AR. (See the March to support their home communities. another Scarlatti piece, Concerto IX for 2006 AR for more detailed information on It was a busy day for non-musicians as recorder, two violins and continuo. Not a their accomplishments.) well, with daylong ambient noise from “concerto” in the modern sense, this was Both thanked the many recorder the nearby campus (hosting a Special more an exploration in five movements of players who had enriched their lives over Olympics event—“This is the second call sonorities available to a small ensemble. the decades. for the 2 p.m. 200m run”) heard during For instance, the Largo uses the violins in Verbruggen remembered first coming musical events and while walking uphill to unison as a duet partner with the recorder, to perform in the U.S., now many years the International House. There, young and also as a bass line. Shannon’s accurate ago, in the winter—and immediately musicians were featured in “Early Music fingerwork in the Allegro last movement being taken to eat ice cream! Her longtime for Families.” Participants included a brought the concert to a joyful close. friend and occasional ensemble gamba consort sponsored by the Viola da Musica Pacifica (MP) crafted a 5 p.m. co-performer Cléa Galhano also spoke of Gamba Society Pacifica Chapter, Junior program at Hertz Hall to fit in with the pre- the wide influence that Verbruggen has Recorder Society students, Junior Bach vailing circus idea: “A Venetian Carnival” had on recorder playing in North America. Festival young musicians, Piedmont Bag- evoked the carnival season associated with In heartfelt remarks, Primus listed a pipe Band players, and children from the Venice through chamber concerti by number of people who had encouraged SFEMS Music Discovery Workshop. Audi- Vivaldi (La Tempesta di Mare and La Notte) her over the years, ranging from those who ence members were able to hear, touch plus incidental music from Italian carnival started her on the recorder to those who and try out early music instruments. operas and the commedia dell’arte. Of served with her on the ARS Board.
20 American Recorder ARS gave special awards during the Berkeley Festival to two deserving individuals: Constance Primus, shown at left, being read the text of her Presidential Special Honor Award by ARS President Alan Karass; below left, she is congratulated by another former ARS President, Gene Murrow. Marion Verbruggen was awarded the ARS Distinguished Achievement Award; at bottom left, Cléa Galhano tells the audience why, as Karass looks on; bottom right, Verbruggen with Galhano; and at left, Marion with her greatest supporter, Marjo.
Even before the reception ended, another concert had started inside. “Orna- ment and Splendor” brought together for the first time the violins of the King’s Noyse with the wind band, the Whole Noyse. Both emulate set ensembles, popu- lar in the 16th and 17th centuries, that concert’s opening Ecce Dominus veniet by musicum. A sensitively-played bicinium served similar purposes—playing for Praetorius literally set the tone. From the (solo duet) verse in Praetorius’ Von Him- dances, public functions and church. solo cornetto motive to the final double- mel hoch featured violinist David Dou- The Noyse2 program reflected the choir chord, the two groups established glass and cornettist Stephen Escher. variety of repertory found in 17th-century that their combined forces (too many Throughout the concert, Escher’s Germany—ranging from dances to hymns names to enumerate here) could produce cornetto playing demonstrated shades of and motets, with canzonas, fuges and a lush, homogenous choral-like sound. tone color and dynamics, as he altered his variation sets in between, all by Franck, After that, instrumentation alternated sound according to the necessities of the Hammerschmidt, Haussmann, Praeto- between pieces performed by each piece. When playing a solo or lead, his rius, Scheidt, Sweelinck and Widmann. ensemble alone, or both combined— tone assumed a trumpet-like timbre; he and some with musicians drawn from employed a more vocal-like quality of tone each to form various combinations (with and line shaping—soft, almost woodwind And what a “Noyse” the versatile Herb Myers switching in nature—when his part was in the back- between dulcian and viola, as a fifth ground. In Melchior Franck’s Pavanne, his they made! string player for some five-part works). mellow tone blended with the more The Praetorius hymns, which generally somber sound of the sackbuts, contribut- And what a “Noyse” they made, with featured the full ensemble, provided some ing to a homophonic, quasi-choral sound. four strings (combinations of violins, highlights of the concert, including a few Also noteworthy were keyboardist violas and ’cello) and four winds of the composer’s own examples of writ- Mahan Esfahani’s rousing, tour de force (cornetto, two sackbuts and dulcian)! The ten-out ornamentation from his Syntagma harpsichord solo of Sweelinck’s variations
September 2006 21 on Mein junges Parents, family, friends and music fans tions, proved an inspired idea. This treat- Leben hat ein filled the International House auditorium ment of Now, O now I needs must part (The End, and his to hear three recorder choirs from the East Frog Galliard) made an exciting finale. The interpretation Bay Junior Recorder Society—23 young small but obviously knowledgeable of (or pos- people from grades 3-12, and spanning audience gave the trio a standing ovation. sibly his own ages 8-18, who charmed the crowd with But there was still more, as the King’s improvisations music from Renaissance through modern, Trumpetts & Shalmes gave a fringe on) Scheidt’s including a Native American tune. concert that evening, reprising the whole Toccata super Impressively, even some of the youngest Festival’s circus theme in “Cirque de In te, Domine, speravi on chamber organ. players switched as needed from C to F Schalmey.” What they called the “liveli- With no music and facing the audience, instruments. The high school choir played ness of the space” at Trinity Chapel was his over-the-top, relish-the-dissonances Dynamo, the 2006 Play-the-Recorder taken into account by their use of oriental performance brought the house down. Month composition by Pete Rose, at a rugs—allowing the shawms’ volume to be Incredibly, the day still wasn’t over for lively tempo. The concert was part of the tolerated while bringing out the recorders. recorder players: Philharmonia RECORDERFUN program, taught by Advertised as “Amazing feats for Chamber Players offered its late-night Louise Carslake, Hanneke van Proos- Shawm Band performed without a net,” the “Viva Vivaldi” concert at 10:30 p.m. at dij and Annette Bauer. evening was filled with a tongue-in-cheek First Congregational Church. Amidst the With crowds dwindling, back in Hertz circus theme. It began by listing Annette glow of candlelight, principal players of Hall the final Festival concert of the main de l’Anche as bass shawm player. the Philharmonia Baroque Orchestra program was “The Itinerant Virtuosi” by Annette’s persona was featured on the offered familiar selections that almost Capriccio Stravagante Trio (Julien program cover, sitting on a tight-rope, anyone would know and love—the violins Martin, recorder; Josh Cheatham, viola holding an immense bass shawm. Regret- rotating through the solo parts of the Four da gamba; Skip Sempé, harpsichord). fully, the evening’s performance was per- Seasons, with other solo concerti inter- Opening with a Tocata by Francisco formed without (the imaginary) Annette! spersed. A highlight featured recorderist Maria Bassani, the harpsichord and The program consisted largely of Hanneke van Proosdij (above left)—the gamba were joined by Martin playing a French and German music of Du Fay, only soloist to be recalled for a second bow Ganassi-type soprano recorder for Isaac, Lourdoys, Desprès and others from during the concert. Her rapid sopranino Bartolomeo de Selma y Salaverde’s around 1500. The performance featured fingerwork, in the outer movements of the Canzona a 2, soprano e basso. Martin, a shawms, sackbut, recorders and Concerto in C major for Recorder and former student of both Walter van Hauwe crumhorns played by founding director Strings, RV444, sandwiched the lovely and Pedro Memelsdorf, is indeed a virtu- David Hogan Smith, Robert Cronin, Largo movement, making the string play- oso—with a bright clear tone, fast accu- Jim Kafka and Alan Paul. ers smile. Lutenist David Tayler and rate fingers, and expressive articulation. Playing upon the circus theme, Paul as ’cellist Tanya Tomkins also gave vigorous Throughout the entire program— narrator even juggled—and, after performances of their solos. No one would which included mostly 16th- and 17th- intermission, Kafka and Paul came out have fallen asleep in this concert. century works by such composers as with colorful jester hats, which were There was more to hear on June 11. Diego Ortiz, Giulio Caccini, Nicholas then used to “keep the recorders warm!” “A Musical Tapestry,” a program of Renais- Lanier, Cipriano de Rore, Byrd, Dowland The group played several recorder sance and traditional music from the and Van Eyck—Martin and his colleagues pieces by one of their favorite composers, British Isles, was offered in the early after- maintained a high level of virtuosity. Johannes Ockeghem. Keeping with the noon by soprano Susan Rode Morris; Divisions were played with seeming ease. tongue-in-cheek circus idea, Paul suggest- Eileen Hadidian playing recorder, harp One of three 18th-century composi- ed that history hints of the Ockeghem and flute; Shira Kammen, violin and tions on the program was Arcangelo family’s involvement in a traveling circus, viola; and viola da gamba players Julie Corelli’s La Follia, Op. 5. No. 12, which whose slogan was, “we travel from the Jeffrey and David Morris. Kammen and Martin and Cheatham both played with lowlands to the highlands.” The fun Morris displayed versatility by also grand flair, bouncing the increasingly fast Ockeghem works contrasted with a lovely singing. The opening invitation—“Good and difficult variations back and forth with cantus firmus played by Smith in a Credo of people, we crave your attention” from the abandon—an exciting end to the con- Jacob Obrecht’s Missa Fortuna desperata. Calling-on Song–pulled in the audience. cert’s first half. After intermission, Sempé Continuing the circus idea, when it Especially appreciated by the crowd and Cheatham played Marin Marais’s came time to speculate on the origin of the was Joan quoth John, a song of seduction by Suite de pièces de violes, Livre 5, giving crumhorn, Paul suggested that the shape Richard Nicholson from 1595, and the another spotlight to this fine gambist. and sound were inspired by a familiar Cry of London—based on street vendors Sempé and Cheatham again collabo- circus animal, the elephant. hawking wares such as mackerel, salt rated on the Ortiz Recercada tercera, then The concert’s spectacular finale, or oranges, and ending with a “jolly began a set made up of selections from Der Gardell Simons’s Atlantic Zephyrs, was wassail!” The latter came from the group’s Fluyten Lust-hof—Van Eyck’s versions arranged for shawms by Smith. Imagine performance at a Twelfth Night celebra- with divisions, plus Byrd, Dowland and a calliope of shawm sound: a fitting end tion, and playfully closed the program Morley versions. Sempé finally took a solo for such a circus, and for the end of the with a wonderful touch of humor. turn in this set, playing a Byrd galliard. 2006 Berkeley Festival. There were still overlapping concerts, Playing Van Eyck’s versions together with Gail Nickless, with contributions from even on a day when many had started to their sources, and using original madrigal Charles Coldwell, Gerry Greer, Alan Karass, leave the Festival for home. harmonization under the recorder varia- Constance Primus and Kathy Sherrick
22 American Recorder by Frances Blaker
It can be a little surprising and even Living La Vida Musica: discouraging to take up music later in life, or to begin learning a new musical instrument. Stories of How Learning As adults we feel a need to be competent at everything we try—right from the start, even if it is something totally unlike anything the Recorder can teach us we have tried before. We are ashamed to show lack of ability. We are embarrassed by mistakes. We ask perfection of ourselves Much More than Music before we even have down the rudiments. Practicing and technique, or that difficult passage. You As adults we have expectations of how Taking Recorder Lessons will be exposed to music you did not know quickly we ought to be able to acquire a skill. The pursuit of excellence is one of the before—new pieces, new styles, new We do not remember, or were never aware of, most satisfying areas of life. Perhaps it sounds. the great amount of practice it took to learn should just be said that pursuit is what You have someone right there rooting all of our other skills—speech, walking, people seem to thrive on: witness people for you to do something you never using a fork and knife. The practicing we did as they search for the perfect golf swing, thought possible. And when you play on a for those long-ago acquired skills consisted a new personal best time for running a student recital, although you may be of continual attempts do the thing at hand: 5K race, a line of research to find a cure quaking in your boots, you also will see missing, falling, failing time and again on for a form of cancer, the solution for a the proud smile on your teacher’s face the way to becoming good at the skill. As we mystery. Look around and you will notice afterward. You also get to meet a whole grew older, we received help acquiring skills people everywhere striving for something. flock of other people pursuing the art of like learning to read and write. Recorder players strive too—at first recorder playing. But the habit of trying over and over to just to learn the fingerings, to read music, The pleasures can be endless, but there do something seems to diminish as we go and so on. But as playing improves, each is also a more serious side to recorder through life. By adulthood, we expect to be of us begins to sense the vast world of lessons. You and your teacher will make a able to do a thing with only a few attempts to possibility for musical expression and plan for your musical development. Your guide us. Perhaps this is because, in daily life, flashy playing! It is more fun to play better, teacher will keep you on the right track, skills build on skills. When you learned to but how do you get there? nagging you to do the right thing: “Did write, you already knew how to hold a pencil. One way is through practice. Each skill you practice your long tones?” Well, no.... When you learned to play basketball, you you need in your recorder playing— After a while, you will begin to hear the already knew how to run and jump. fingering patterns, blowing, breathing, difference in your tone, and notice how But when you try music for the first tonguing, reading music, rhythm, much more pleasing and beguiling it has time—or turn back to music as an adult— knowledge of musical styles—is acquired become since you began. you don’t have the myriad skills upon which and polished through lots and lots of to build, or they have grown very rusty. practice in your day-to-day efforts to play Although it can seem like an insurmountable music. Imagine being the sole task to gain all the abilities that go into As you try and try to come to a good making a good recorder player, it can also be way of doing a particular thing—whether center of someone’s thought of as a fresh new world to explore. it’s holding the recorder without pain, I hear time and again, from players of all or playing very quickly, or anything else— levels, that music holds a very special place in you may discover that, when given helpful attention for a whole hour life, and that the quest to play music is an tips and feedback from a good recorder almost spiritual pursuit. For some, it truly is player, your playing improves more each week—as an adult, a spiritual activity; for others, perhaps a quickly and easily. You get out of your window into that side of themselves. For yet rut and learn faster. others, it’s just the love of music, and the A good teacher can make all the this can be rare and is fun of playing music. Whatever your view- difference for you. Not only will your point, I think you will recognize this very teacher help you with specific technical very satisfying in itself. special place that music holds for us. advice and instruction, but she or he will In the personal stories that follow, you will also help keep you motivated and offer find the two main threads of the joy and encouragement when you doubt yourself. Your finger-work will become more rewards of music—plus both the spiritual Taking recorder lessons can be so smooth and flowing, the claw-like hand and the mundane, and the pleasures, much fun, so absorbing, nearly addictive. position gradually relaxing into the frustrations and discoveries of learning Imagine being the sole center of likeness of Michelangelo’s famous something new as an adult. someone’s attention for a whole hour painting of the hand of Adam. Your finger I hope these stories will inspire you, strike each week—as an adult, this can be speed will increase. Articulation— a chord with you, show you a new rare and is very satisfying in itself. a mystery in the beginning—will become perspective. I hope you will think about your And then you get to make sudden second nature to you, and your playing own musical story—as it began, and is still discoveries and have “Aha!” moments. will sparkle with nuances only made unfolding. You learn tips and tricks for mastering this possible through refined tonguing.
September 2006 23 All of these promises can only come To find a teacher, ask other recorder The Great Unknown: true, however, if you take lessons with a players about teachers in your area. Check The First Lesson good teacher—and if you practice. You bulletin boards at music stores. Look in You should go to your first lesson prepared must practice regularly if you are to make the ARS Directory, which includes a list of to play something so that the teacher can improvement. Everybody who strives for recorder teachers around the world. evaluate your current level. I tell prospec- something must practice; look at those Try a teacher for a few lessons to see if tive students to bring a piece of music that kids with their skateboards, trying their you hit it off and work well together (but they can play well and feel comfortable tricks over and over no matter how foolish be considerate and tell the teacher that with. I want to put the student at ease they look when they fail. this is your plan). You should think a bit while listening to what she/he can do. We You need to establish a place to practice about what you want before searching for discuss strengths and weaknesses and where you will not feel too self-conscious, a teacher. Perhaps you know that you want make a plan. Then I assign homework! a place where you can concentrate and to learn about Renaissance music, or how For a completely new recorder player focus your mind on yourself. As a teen- to play faster, or how to play all sizes of who can’t play a note, I start out with a ager, my favorite practice place was the recorder, or how to do jazz improvisation, method book. We go through it together kitchen during dinner preparation; I did- etc. Don’t be afraid to say what you are over the course of time, but I also include n’t like to miss anything while shut away looking for. tone and blowing work—a nice sound in my practice room. Later, my favorite If you do not know what you want, makes Merrily We Row Along much more type of practice place became a spot near a say so. The teacher will help you uncover pleasing—as well as ear-training, playing window, so I could look out while doing your secret musical desires. by ear, improvising, etc. long tones and other exercises. I know that many of you live in areas Here are some guidelines of conduct I like a quiet place. I like to be free of where there are no recorder teachers. In for music lessons: interruptions, so I do not answer the your case, you can start yourself off by · Come to your lesson on time, neither telephone when practicing. I like best to going step-by-step through a method late nor early. Unpacking and packing practice early in the day, before my mind book to learn the notes and the rudiments up your instrument is to be done dur- fills with thoughts of errands and chores. I of music. You can keep yourself going ing the lesson (the quicker you are, the prefer a long uninterrupted practice ses- using the ARS Personal Study Program more lesson you get), or in your car. sion, but some prefer to practice in several in Thirteen Stages, and the Guidebook (Beware: if you live in a cold climate, shorter segments throughout the day. for this program. These are really useful don’t carry a bare wooden recorder What do you like best? You must find resources. from a warm car through icy air and your own way to practice. You can also prepare to take the ARS into a warm house. Keep it in the case.) It is more important to practice consis- exams for Levels I, II or III. Even if you · Do not over-stay. Leave when the tently day-to-day than it is to practice for don’t take an exam, following the steps of lesson is over. A brief chat is fine, if the long periods on few days: 10 minutes a preparation will teach you a lot and make teacher seems relaxed, but be sensitive. day for six days is more useful than 60 sure you have no gaping lacunae in your If you are being shepherded toward the minutes of practice on one day. Part of abilities. door, it is a sign that your teacher needs what happens during practice is learning Read back issues of this column to get on with other things. If another physical movement patterns—ingraining for advice on working with various student is waiting, make a quick exit. them, making them second nature. techniques. Another part is training your ear, Try to find other recorder players in and yet another is learning your pieces of your area and start a group. Playing in a ... 10 minutes a day for music. All of these things require repeated group does not take the place of lessons, practice. It’s not like doing math home- but it does keep you playing, and you six days is more useful work, in which you’re finished when the can learn tips and tricks from the other problems are answered. It is a continuous players. Besides, it’s lots of fun. than 60 minutes of process. Go to workshops as soon as you have practice on one day. If you are a busy person, it might be some playing facility. There you will have a most helpful to choose a specific time for chance to immerse yourself in recorder your practice sessions and stick to it. playing for a day, a weekend or a week. You · On the other hand, if your time is up, Choose a time of day when you are not too will get technique pointers and enjoy but your teacher keeps on going, keep tired. I like to keep one day a week many group playing sessions. You may paying attention. Your teacher is aware free (usually), or at least keep it a light even be able to arrange a private lesson of time, and is giving you extra time practice or sight-reading day. Otherwise with one of the instructors. on purpose. Accept it as a gift— I find myself rebelling. Another option for those living in an unless you have to get to another If you have time to brush your teeth, area devoid of recorder teachers is to ask a appointment. you have time to practice. Perhaps you can teacher of some other instrument to give · Come well-prepared to your lesson. take a recorder to work and practice on a you general music lessons. A flute teacher, Practice your music between lessons. break. Practice by a computer while you’re for example, can teach you a lot about However, if you have not been able to waiting for software code to compile. Find playing sonatas, breathing, and learning practice well, do not cancel the lesson. an empty meeting room, a stairwell, an passagework. You and the teacher must It is much better to keep momentum exercise room. I know you can find a simply stay aware that you will need to going by having a lesson than to wait spot and a time to practice. learn about specific recorder techniques until you (perhaps) have practiced and repertoire somewhere else. enough.
24 American Recorder · Please practice what your teacher asks Etiquette for Teachers Too students themselves). This gets you to prepare. As a teacher, I too am (I know you already know all this, but a awfully grim, and all enjoyment in striving for excellence; it is frustrating new teacher might like some pointers, and playing can be lost. when a line of improvement cannot be students should know that teachers follow · Give only honest compliments. followed because a student wants to etiquette too.) Students can see right through us “flit” from piece to piece and topic to · Be ready at lesson time. Don’t keep when we say, “Really, that wasn’t so topic. If you do not like the line being students waiting. bad.” Sometimes I acknowledge poor followed, discuss this with your · Remember to enter lesson times in playing, cheerfully saying, “Well, that teacher. Of course, you may always do your calendar, and then look at the was horrible! But if you just do such sight-reading in addition to practicing calendar. One day, when moving and such, you will be able to play the requested material, thus satisfying furniture across a fifth-floor landing much better.” I only do this when I am your desire to “flit.” from one apartment to another, just at pretty certain that the student realizes · Please be prompt in payment. Your the moment when every spot was she/he has just played horribly, and teacher may be dependent on the nearly impassible, one of my students I always offer a way to make immediate income earned through teaching, arrived for a lesson. I had to put her in improvement. and a late or missing payment can a nearby armchair and ask her to · Make your payment and cancellation make a sad impact. please wait until we could get past policy clear, and present it in a written · Be gracious about time and money. this crucial moment of moving. I had form at the beginning of each year and If your teacher routinely gives you extra forgotten to check the day’s appoint- when starting off with a new student. time without charging extra, be under- ments. Fortunately, she was a very This will avoid unpleasant misunder- standing when occasionally your forgiving person. standings, and will help you ask for teacher asks to end a lesson a couple · Develop an awareness of time so that payment when a student has canceled of minutes early. you can include everything planned a lesson at the very last moment. · Give your teacher as much advance in the allotted lesson time. If you go · Focus on your student during the warning as possible when you must over time, you must be aware of it. entire lesson. Do not check e-mail cancel a lesson. Cheerfully pay for les- · Remember to offer encouragement, or answer phone calls (unless sons that you cancel at the last even when your student’s progress emergency), or daydream—even if minute—your teacher cannot make up seems slowest—that is when the your student is just playing scales. for lost income without some lead student needs it most. We so often Your student needs feedback, even for time. Check your teacher’s cancella- focus only on the negative (as do the routine exercises. tion policy. The Gift of a Recorder... means even more when accompanied by a gift membership in the American Recorder Society. Lost in Time Press New works and This coming year, make certain your gift of music is enjoyed to the arrangements for fullest by sending along a recorder ensemble membership that entitles your friend, spouse, parent, or child to Sextet by Frances Blaker: receive five issues of American Yaquina River S,A,A,T,B, Recorder; a Directory of recorder Bass VdG/Cello or players throughout the U.S. and all Contrabass recorder over the world; discounts on CDs, music, and some summer Plus works by Paul Ashford workshops; mailings about events and others and products of special interest, and much more. Please inquire about Include name, address, and phone number of both forthcoming pieces. recipient and donor along with your check for U.S. $40 (U.S./Canadian membership) made out to “ARS” and Corlu Collier send to: PMB 309 ARS Gift Membership, 1129 Ruth Drive, 130-A NW 19th St. St. Louis, MO 63122-1019. Newport, Oregon 97365 A signed card will accompany your gift. [email protected]
September 2006 25 Beginner’s Adult students in particular experience they get larger. the fingers feel like putty, Mind a discrepancy between what they intellec- sticking to the strings or bouncing off I have always tually understand about music and what them when they shouldn’t, definitely not felt somewhat un- they can actually do. They have a certain moving together. My eyes and ears know comfortable with sophistication, certain ideas about how a exactly what they want to experience, yet the performer- piece should sound, just from having my fingers can’t “do” it yet. A humbling centric nature of listened to music for years, yet their experience, if I buy into the “should” many concerts, bodies—breath, tongue, fingers—can’t model: as a professional musician, I and spent years immediately reproduce what they would should be able to do this easily; if I practice searching for a like to hear. Learning to play a musical long enough I should be able to get it right, deeper, more instrument as an adult is an exercise in and then move on to some real repertoire. balanced way of patience: giving the body time to learn However, if the exercises are experi- practicing. The new skills and to slowly catch up with enced as a form of meditation—breathing cancer diagnosis what the mind can understand. in and out through the fumblings, has helped me Part of my journey with cancer is giving embracing the “wrong” notes as part of explore that myself opportunities to be a learner the process—then practice becomes re- practice and find my center. Since the again—to experience beginner’s mind laxing and joyful. I let myself observe as diagnosis, my activities as a teacher and and to use music more directly for my own the fingers—in the slow, patient way of performer have been moving away more healing. all natural things—gradually learn the and more from an ego-directed activity, The radiation to my neck has done patterns and are eventually able to play and towards a spiritual practice. damage to the vocal cords, and I have lost the intervals, and then simple pieces, This involves experiencing these resonance in both speaking and singing. smoothly and consistently. activities as process, and letting go of the Voice lessons with a singing teacher who I let go of abstract expectations of attachment to product and outcome. By incorporates Feldenkrais body awareness having to achieve a goal by a certain time, honoring the experiences that life has into her teaching will hopefully help re- and remember why I am taking lessons: given me, I am realizing how fortunate I store some of that resonance. for the joy of it. I am not preparing for a am in many ways with the richness of my We start with simple three-note warm- performance, don’t have a deadline for life. Music has become a special gift to be ups, being aware to keep the breath going, achieving certain skills. I am exploring this shared with people in a way that uplifts, and trying to make the notes as smooth dimension of music for my own healing— and brings joy and healing, to their lives and equal in timbre as possible. My voice and in life, healing happens slowly and and mine. Healing does not happen alone; doesn’t cooperate: some notes are reso- consistently, if it follows its natural course. since we are not separate beings, but are nant, others sound raspy or breathy. Some This beginner’s mind in singing and intricately connected, healing happens days I can achieve a good sound, others it playing the harp is also a metaphor for my when we come together, listen to our life feels like there is a haystack in my throat. own healing. Deep down I feel like a very stories being told and heard, and share our Sometimes the warm-ups go beautiful- healthy person; even though I have music. ly, but when I start to sing a simple chant, metastatic cancer, the cancer is not me, is I can’t reproduce a full resonance. I need not my essence. It is very strange to read One of the most powerful to remind myself to let the breath carry me the medical literature that describes through, accept whatever comes out, and metastatic cancer, the run-away division of let go of the attachment to outcome. aberrant cells that have lost the signal to ways to experience Maybe as I relax into this non-striving, the die when they should, and to apply the resonance and consistency will follow. disease to myself. playing and teaching I have always wanted to play the lap The healing that is happening is only harp. Other than a one-week workshop, somewhat related to the ongoing treat- I have been entirely self-taught, with no ments, which are helping keep the cancer music without consistent technique. Now I wish to in check—”stable,” in medical terms. The acquire some fundamentals of good true healing is happening with my alterna- striving toward technique, and to let go of bad habits. A tive therapies, engaging the body, spirit harpist friend has agreed to give me and mind to work together: taking herbs perfection is to occasional lessons. that support and strengthen the immune We start with holding the harp so it will system, learning to acknowledge and cause minimal stress to the body, working release fear, doing yoga and using guided become a beginner again. on the angle of the hands, positioning the imagery to move and diffuse pain, talking fingers on the strings in such a way as to the cancer and trying to understand One of the most powerful ways to to get maximum fluidity and resonance. why it is in my body. This process is what experience playing and teaching music I begin by practicing intervals with two is ultimately healing, not the “goal” of without striving toward perfection is to fingers—going up and down the harp, lis- eliminating the cancer. become a beginner again on a new instru- tening for consistency of sound, watching I need to trust my intuition, to trust my ment. By becoming a student, I can better the fingers as they move on the strings. innate ability to heal as much as my understand my own students’ frustrations We then go on to three-finger combi- friends see and trust that ability in me. with learning to play an instrument. nations. The smaller intervals are easy; as Every day I learn to approach the healing
26 American Recorder can count on: “My actions are my only I let go of abstract true belongings. My actions are the ground on which I stand.” (The full quote expectations of having is from Thich Nhat Hanh, Plum Village to achieve a goal by a Chanting Book: “I am of a nature to grow old. I am of a nature to have ill health. I am certain time, and of a nature to die. All that I have will be remember why separated from me. My actions are my only true belongings. My actions I am taking lessons: are the ground on which I stand.” Eileen Hadidian is a recorder and for the joy of it. flute teacher in the Bay Area (CA). Her diagnosis of breast cancer in 1994, and process with beginner’s mind, without the metastasis of cancer to the spine in preconceived notions of what I should 1997, have served as opportunities to look achieve. at her life and see how she can live it more Some days the pain is worse, in spite of mindfully and authentically. She under- everything I do. The energy goes up and went spine surgery on July 3 to remedy down, and I can’t always accomplish what deterioration to the spine and nerve I would like. A new addition to my heal- compression resulting from the cancer ing, hypnotherapy, cuts through the pain relapse over eight years ago. She reports that loop and gives me relief for several days, many friends have either come by to sit something I haven’t experienced since the with her or to bring food. “My goal [has been] relapse. Being without pain, and going to take a walk every day to our neighborhood off pain medication, is elating and main street with two canes and a companion empowering, yet I know the importance by my side. It is wonderful to be able to walk of approaching it as process and of again and every day I feel a bit stronger.” practicing the techniques regularly— She will resume teaching and playing with much like meditation, understanding that Healing Muses in September, and will the road will be bumpy at times. resume concerts and workshops in 2007. This practice is what I have, what I E-mail Eileen at
September 2006 27 Experiences from two students of Eileen Hadidian particular note sound- plan. I was aware that she wasn’t giving me ed. Was the thumbhole all the bad news, but was concentrating on too open? Was the the principles that she felt I needed most breath pressure too to learn. high? In contrast, a She continued to force me into an ac- learner burdened by a tive role. For example, she wouldn’t put fear of failure is likely to breath marks in a piece until I had first put the instrument tried to do so myself. away. That first lesson and subsequent ones Several years ago, weren’t easy. I often found my ears shut- when I unpacked my ting off. When criticized, I felt so panicky recorders and decided that I couldn’t hear what my teacher was to take music lessons saying. Once I realized what I was doing, I again, I was certainly learned to breathe slowly and to listen aware that I wasn’t with greater care. moving into safe terri- I also found I had another typical tory. My first lesson behavior. When I was asked to correct a with my new teacher mistake, my tendency was not to try arrived, and I found very hard. After all, if I didn’t try, failure What I Learned About Teaching myself sitting on a very hard chair. My wouldn’t have the same sting. Again, Writing From Taking Music Lessons palms were sticky, and my blood pressure I learned not to allow myself to take such As many teachers know, learning is not had gone up. My recorder teacher smiled. an easy out. I became more accepting easy when you come to the task scarred. “Why don’t you play through an F Major of the fact that I often couldn’t correct Learning requires that we open both our scale,” she said. “Your first piece is in problems during a lesson. hearts and our minds—that we take risks, F Major, and it’s a good idea to warm up As I became a better musician, I was that we have the resilience to try again in with a scale in the same key.” surprised to discover the load of assump- the face of repeated failures. But it’s What my teacher didn’t realize was tions I’d been carrying around about my difficult to be resilient when you’re trying that she was dealing with a musical musical ability. I was like the students in to learn something at which you’ve failed illiterate. Somehow I’d managed to pass my writing classes, who hand me an in the past. through the hands of three or four music in-class essay of several pages on the first In such cases, every attempt unleashes teachers without learning the basics. I’d day and tell me that they can’t write. I the tragic Greek chorus. If you’re trying to learned sophisticated information about assumed that I wasn’t musical because learn to play a musical instrument, Baroque and Renaissance performance I lacked the basic skills good musicians that chorus reminds you that you’re not practice, yet I didn’t know what the key of have. It had never occurred to me that the musical. It tells you you’re tone deaf, F Major was. problem was that I’d never been taught. despite the fact that you’ve been In the hope that my teacher would let By now, this story should sound famil- distinguishing all kinds of sounds for your me off the hook, I must have mumbled iar to writing teachers. Often we have entire life. It reminds you that musicians that I didn’t know how to play an F Major students who have been passed through are born, not made—and that there’s scale. She smiled and told me to begin the system without having learned the no use in trying anyway, since you’re with low F. I started up the scale and basics. Such students may be able to bound to fail. faltered after two or three notes. “Listen perform some fairly sophisticated writing Because I’m a teacher with many stu- to what you’re playing,” my teacher said. tasks, but they are crippled by their dents who come to my classes with what “Does that sound right to you?” Well, no, ignorance of the fundamentals. they perceive as a history of failure, it didn’t. And I suspect that many of these observing my defensiveness during my Amazingly, none of my other music students have reached the same conclu- music lessons has been instructive. Music teachers had ever told me to listen. They’d sion I had about my musical ability. They lessons have taught me what it feels like to done the listening for me—and assume they can’t learn to write well enter a learning situation crippled by fear. my impression was that most of what because they’ve taken a lot of English The irony, of course, is that it’s they heard was wrong. classes and haven’t learned. They enter impossible to learn anything without After a few attempts, I made it up our classrooms with nervous stomachs, failing many times. Learning requires and down the F Major scale. I was a little and their minds cramp when they face a experimentation. You find out what works shaken, but proud. I’d discovered that my blank page. partly because you’ve discovered what ears knew the tonal relationships of a My music lessons have reminded me of doesn’t work. If you blow into a recorder, major scale, even if my fingers weren’t my students’ vulnerability. At the begin- for example—expecting something sweet accustomed to playing one. That was quite ning of my teaching career, I felt that my and pastoral—and instead the instrument an accomplishment for someone who is role was to protect my students from fail- squawks back, the sour note can be as tone deaf. ure. I saw their defensiveness, knew that instructive as a sweet one. I worked just as hard during the rest much of it came from destructive learning The open learner wonders why that of the lesson. My teacher clearly had a experiences, and wanted to help them feel
28 American Recorder better about themselves. I rarely gave a low make the knowledge the student already grade because I was afraid of traumatizing What is necessary has more accessible. the student. I hedged rather than tell a Thus my experience as a music student student in class that he’d given the wrong is not to protect students has affirmed my approach as a writing answer. from failure, but to teach teacher. I’ve known for some time that My teaching method was undoubtedly even students whose skills are low learn more effective than those of what one them a more positive faster when they are treated as fellow of my students aptly dubbed “unkind” writers and taught the principles of the teachers, but it had some liabilities. Since attitude toward failure. craft. I’ve also recognized that students we learn partly from negative feedback, to often know more about the language than try to protect a student from failure is me pieces of information to which I they realize, and I’ve tried to use teaching to impede the learning process. What couldn’t relate. She’s taught principles techniques that draw forth the knowledge is necessary is not to protect students that I could apply in many situations. In the student already has. from failure, but to teach them a more the past, I’d learned to play pieces of Now I understand better the emotion- positive attitude toward failure. music, but I hadn’t learned principles that al value for the student in this approach. Perhaps the most important thing is I could apply to all the music I play. There is nothing more demoralizing than that the student be treated with respect. My teacher recognized as well that I being treated like a dummy, especially My music teacher hasn’t made me feel like knew more than I thought I did. Virtually when a part of you is already convinced another hopeless amateur. She’s held me anyone raised in a Western society will that you are one. To be treated as a fellow to a high standard, but—no matter how know the tonal relationships of a major practitioner of a craft is far more produc- many times I’ve been corrected— scale, for example, and we all have a sense tive. Failures can be tolerated if they’re I’ve always felt that she thought I was of rhythm. part of a process that leads to greater skill. capable of learning the task at hand. Similarly, writing students have They’re intolerable when viewed as yet My teacher also has a sound language as their common inheritance. another sign of one’s hopelessness. knowledge of her craft. She hasn’t taught The task of the teacher in both cases is to Betty Wheelwright, Point Reyes Station, CA Yoga and Music I have always loved music, but didn’t express that love during much of my life. Yoga has helped me to realize and to express the many loves of my life, including music. When I was young, I played recorder with my mother at home and took a few piano lessons. Music at school introduced me to new instruments and repertoire. Alas, I did not include music when I established my own family. Several decades later, I noticed a lack of joy in my life, although I didn’t remember or return to music then. Instead, I turned to yoga. Ruth, my first teacher, was in her 80s. She had marvelous strength, flexibility and joy. In addition to the basic yoga postures, I learned from her to look for the joy that is at hand in every moment. I think of her still when I reach for the reassurance that joy is possible. When Ruth retired from teaching, I found Cynthia, who helped me to learn how to refocus my attention away from my thoughts and toward my physical and emotional feelings, helping me to enlarge the space in which to look for joy. Eventually I graduated into regular yoga classes, where I’m still learning non-competition. Through the years, yoga has greatly improved my mental and physical health and has led me to a clearer understanding of what is needed to make my life joyful. It was at a yoga retreat that I met my partner, through whom music finally returned to my life. I find that the practice of yoga enhances many aspects of my life, including the ability to play music. Readers of this publication are familiar with music, so let me introduce yoga and explain how it enhances music for me. The word yoga means “union” and applies to the reunion of that which has been separated. Hatha, or forceful, yoga is the most familiar form of yoga in the West. Although it is usually studied here as a singular, physical discipline, it was traditionally intended to prepare the body to sit steadily during meditation, the goal of which is to reunite the separated parts of the self. The postures of Hatha yoga are like the scales on the recorder in preparation for playing music. Specifically, the torso, hand and arm strength developed in yoga enabled me to play the recorder comfortably. Control of the breath, another skill practiced in con- junction with Hatha yoga, is used to focus and channel energy in yoga postures. Awareness and control of inhalation and exhalation helps me to vary the volume, velocity and direction of the breath from note to note, which greatly improves my playing. Yoga teachers often remind their students to breathe deeply and naturally while practicing postures. Music also comes much more easily when supported by deep and natural breathing. In yoga, when the body can sit steadily and the breath is controlled, then attention can be directed to meditation. Concentration and sense withdrawal—the practice of limiting arousal from sensory data—are other forms of yoga that help to direct the attention. These skills also help in the study of music. For example, when I started playing again, I ignored cramping fingers and focused on relearning fingerings and how to read musical notation. As I improve these skills, I explore musical literature and concentrate on learning my favorites. Eventually, I will be able to play some music freely, from the soul, without conscious attention to notation, fingerings or breath- ing. This joyful union of my playing and the music is the great reward I look for in music. Sarah Peterson, Berkeley, CA
September 2006 29 How the Recorder Saved my Life I wanted to play in the symphonic Several years ago I was in Los Angeles, CA, band. But to do that, I had to first play in to play with two different early music the marching band. To be in the marching groups and was staying with my long-time band, boys had to cut their hair short, and friend and ARS member, Lia Levin. girls had to tie their hair up. My hair was as Before I dashed off to a rehearsal, Lia long as most girls’ hair, and I was not al- and I were watching the local news and a lowed to tie it up. I refused to cut my hair. story came on about three teenagers I was disappointed to not play in the getting arrested for armed robbery. After symphonic band, but there was no way I the segment Lia said, “I bet not one of was going to cut my hair and wear a band those boys plays the recorder.” uniform. Playing the recorder allowed me I’m sure she was right. Her remark to keep my hair and still enjoy music. started me thinking of my own childhood I soon discovered playing the recorder and teenage years, and how getting could be as serious and intellectually involved in music probably kept me from stimulating as anything for the clarinet. If early and unwanted publicity. I avoided J.S. Bach played music with long hair, even being led to a police car in handcuffs, with if it was a wig, then I could play music with “Flutes in the ’Hood” photo a television news crew recording it all for long hair too. by Margaret Dunn broadcast and posterity. How would I have understand. But fortunately, by that time, explained such a thing to my family? the seed planted by the Windex commer- Recently members of the Seattle (WA) By the time I was 12 years cial and the Trapp family had sprouted, arts community met with a county pushing the subversive behavior to the councilman for our district. I asked the old, I had seen the wrong side. Soon my evenings were filled with councilman to consider arts education as playing music. crime prevention, and then proceeded to side of a jail’s holding Music was much more interesting than tell my story. talking to the police; my need to hang out I come from a musical family. My area, the inner workings with the “wrong crowd” to indulge in mother studied piano and voice in her illegal activities went away. I had a new youth. My brothers and sisters all played of juvenile hall, and way to be a rebellious, reclusive teenager. musical instruments at some point in In 1975, not many teenagers in Los their lives. One of my brothers was an had many encounters Angeles were listening to Hans-Martin accomplished jazz musician. Classical and Linde’s recording of the Handel sonatas, jazz music were the two main types of with local police.... trying diligently to copy his ornamenta- music I heard growing up. Any musical tion. Playing the recorder and listening to endeavors I made were encouraged and By age 16...getting recordings provided intellectual stimula- supported: violin in fourth grade, guitar in tion that no doubt kept me from finishing sixth grade, and clarinet in seventh grade. shot at was something at the bottom of my high school class. I was enchanted by the recorder when A life in high school that included I heard it on a Windex commercial in the I could add to my list playing the recorder, however, was not late 1960s. I started playing it a few years without teasing. I became a glutton for later, once I found out that you could ac- punishment—because, in addition to the tually buy one of these wonderful sound- of childhood experiences. recorder, I mentioned to my non-musical ing instruments. (Later, at a Berkeley Fes- (OK, clueless) friends that I wanted to tival in the late 1990s, I met Martha Bixler. My life with a loving family, however, learn how to play the Baroque flute. This We determined she was one of the players was not all Charlie Parker, Lily Pons, and led to comments such as, “You want to in the Windex commercial that had such the Trapp Family recorder book. By the play a broke flute? Why not get a good an impact on my musical development.) time I was 12 years old, I had seen one?” However, this treatment was a lot I’m not sure what it was about the the wrong side of a jail’s holding area, the better than what would have been in store music in the commercial that caused me inner workings of juvenile hall, and had for me, had I not been drawn to the to abandon Steppenwolf, Iron Butterfly many encounters with local police and the recorder. and Blue Oyster Cult. Perhaps it was the county sheriff—even, on one frightening My unusual odyssey of becoming a clarity and precision, or maybe just the occasion, the FBI. professional recorder player enables me to sound of the instruments. Whatever it By age 16, because of my insistence in look at everyone I meet with an open was, recorders and early music had lodged hanging out with the “wrong crowd”—to mind. I wish it worked both ways. I am themselves in my consciousness and were my mother’s dismay—getting shot at was 6’4” tall and fall into the “burly” category. there to stay. something I could add to my list of child- I’ve been told that I look more like a piano Recorder was fun, but for “serious” hood experiences. On the plus side, I had mover than a professional musician. Some music making I played the clarinet in learned to run better, and to evade conver- might say a sight gag ensues when I walk junior high and my first year of high sations with the police, among other tal- on stage with a soprano recorder. school. But something happened that ents. Why I felt the need to risk damaging These days, when I ride the bus into first year in high school that changed the my loving environment is something that downtown Seattle, I often get strange way I felt about music. only teenagers can rationalize or try to looks from people, and rarely does anyone
30 American Recorder sit next to me. Maybe the strange looks and distance are because they know I’ve got a recorder and I’m not afraid to use it. Kim Pineda has performed on recorder and transverse flutes throughout the U.S. and Canada, in Israel, and on NPR. Music director of Baroque Northwest, he plays reg- ularly with leading early music ensembles in the U.S. He has performed at the Boston, Berkeley, Long Beach Bach, and Blooming- ton early music festivals plus Seattle’s Bum- bershoot Festival, and has recorded for Focus and Centaur. He has taught at Indiana University and the University of Southern California; at workshops of the San Francisco and San Diego early music societies and of the Seattle Recorder Society; and directs the Baroque Flute Boot Camp in Seattle. Other interests include the culinary, martial and healing arts, cycling, backpack- ing, zymurgy, helping his wife in the garden, and the pursuit of the ultimate cadence.
Driven to Play At work I’ve met drivers I would never the Recorder When I play ... have talked with. When I go into the To start off, let bathroom to clean my recorder, some me tell you a I feel that I’m drivers ask what it is or how long I have little about been playing. Since having these conversa- myself. I’m tions, I have found that one driver is a 38-year-old contributing learning bagpipes, one carries a mandolin, male city bus and another has a wife who plays the harp driver with little musical knowledge. My something nice to professionally. Just leaving my Suzuki music preference is heavy metal/hard book out gives people the opening they rock. Since starting to study with the want to ask questions and introduce Suzuki method for recorder, I have come any passengers who themselves. It has been a great conversa- to appreciate classical and folk music. tion starter. About 10 years ago, I heard the might be waiting In the last half-dozen years, my self- recorder and fell in love with its smooth esteem has risen due to the fact I can do deep sound. When I heard it again a few something musical. If it weren’t for such a years ago, I decided to just jump into the for my departure time. wonderful way to learn, I would more than new experience of being taught an likely have given up a long time ago. I don’t instrument. Little did I know I would feel good, and I pass that on to other stick with projects very long, though have the great fortune of falling in people. Playing gives me a much better this one has done the best in keeping my with the world-class musician and superb outlook on life. interest. instructor, Cléa Galhano. Personally, I like the idea of the CD that Hopefully, anyone else who is The Suzuki method helped me calm accompanies the Suzuki method book. It fortunate enough to begin a musical down at work, especially on my lets me listen to the music over and over instrument for the first time with the brakes, and I’m a much friendlier person again, making it much easier to learn. I’ve Suzuki method will have as many toward passengers. When I play, my even played it on my boat at different positive advancements as I have. aggressions seem to disappear and I feel marinas, where I draw a small crowd of Jerome Newquist of Plymouth, MN, that I’m contributing something nice to people who seem to enjoy something dif- drove a bus for over 14 years and recently any passengers who might be waiting for ferent besides the blaring sound systems. filed for disability due to health issues. He my departure time. After I play, I’ve had One year I took it with me to Cozumel still tries to practice as much as possible, numerous compliments, which make me in Mexico, so I wouldn’t stop practicing. “to bring up my spirits.”
September 2006 31 I PLAYED IT BETTER AT HOME I now found myself in a Why does an adult person, apparently of learning environment where none sound mind, decide in middle age to take of this worked. Ultimately, I had to recorder lessons? What rewards, difficul- take instrument in hand and play ties, discouragements await him? Fifteen the assigned piece. It is hard to hide years later, what observations would he when you are the only person make, what conclusions would he draw, playing, the only voice heard. how would he describe his experience? As an adult, I discovered a More importantly, perhaps: what has number of differences between my he learned, beyond a slender ability to play experience and that of a child. I a wonderful and challenging musical learned that my fingers would not instrument? move with the same agility and lack For me, and no doubt for others, these of self-consciousness as a child’s; are not idle musings. At a time when my mine needed more patience and two children were learning to play training. recorders at school, my interest in the in- I found that I could bring to my strument grew to a point where I found a lessons insights, gained over time, teacher and began to take lessons. I had of- into the ways I best learned new ten picked up my children’s recorders just skills. My life experience and aca- to enjoy their compact simplicity and po- demic background had given me tential. Then, I heard Michala Petri playing some capacity to order information Vivaldi on CBC radio. It was an epiphany; and to construct out of its parts a I had never imagined a recorder could logical framework. I could formu- sounds I was able to make. The music make the kind of music I was hearing. late the questions I needed to ask in order engaged and challenged me in new ways; Like many adults, I had long envied to better understand a topic. I was making it happen rather than listen- those people who played musical instru- I have been lucky to have teachers who ing to others make it happen. ments—but, I had somehow managed to are prepared to respect these processes, Eventually, whatever meager talent one make my way through many years of but who are also able to challenge an adult has accumulated is exposed in a recital. school without acquiring any musical student to let go of established practices I recall all too clearly the first time I skills. Apart from years of pleasurable and and take risks: “Play the piece at speed. played in front of an audience. I had prac- eclectic listening, I was the proverbial Your fingers will learn.” ticed hard and felt that I was ready to per- tabla rasa when I attended my first lesson. I discovered that making music is form. What I wanted was a modest suc- Playing Hot Cross Buns like my children harder than I had imagined. I had viewed cess, not stardom—to get to the end of the and blowing long, sustained notes on my it as just playing notes; I had no idea piece without making a fool of myself, to new alto recorder, however, seemed too that the possibilities of interpretation finish at approximately the same time as modest a beginning. I was discouraged. were so broad, the range of decision- the piano. I have been fortunate, from the begin- making so vast. What did I know of The accompaniment began and ning, to find good teachers; they have tempo, articulation, dynamics? I struggled suddenly I could not breathe. While the supported my efforts with grace, with a terrible habit of stopping every time pianist played, I produced a series of humor, partnership and encouragement. I made a mistake, going back each time to tortured gasps and grunts as I tried to However, I was plagued by self-doubt. the beginning to start again. There was overcome my nervousness and make Initially, for many months, I would write nothing else in my life that I did perfectly; my lungs work. It was a disaster. the letter for each note above the staff, why was I so hard on myself musically? I had played so much better at home! certain that I would never master the My daily practice sessions were not The next time I played in front of an knack of reading that intricate pattern always encouraged as my family pursued audience, I was determined not to repeat of notes, lines and spaces. other interests in our relatively small my previous humiliation. I studied every As adults, we often come to new learn- home. Rather than someone checking that book I could find on recorder technique ing with an acknowledged background as I put in my mandatory half-hour, I would and breath control. I did all the exercises experts in another field. How do we deal hear comments like, “How much longer they suggested to ensure that my breath- with the inevitable feelings of frustration are you going to do that?” or, particularly ing was relaxed and easy. Although it was and failure as we attempt something when I played my sopranino, “Is that never an easy process, my brain and my completely different? the highest note that thing will play?” diaphragm got to know one another Unlike the areas of study I was already Admittedly, it was a note best appreciated intimately. familiar with, I discovered that music by the family dog! Again, I felt ready. This time, there was lessons offer no place to hide. I had Always, I was aware that I was paying no problem with breathing—but my sat through many classes, seminars and significant amounts of money for this fingers turned to putty and would not do department meetings, fielding questions musical education. No benevolent and what I wanted them, and desperately to which I had no ready answers; but, hopeful parent with a vision of a son or needed them, to do. Another disaster! it was possible to think on my feet, to daughter someday performing at Carnegie I persevered and, slowly, things got make a contribution—and even, at times, Hall paid for the lessons. I paid because I easier. As a child, I had never been able to to sound somewhat erudite. was “hooked.” More and more I loved the sing Row, Row, Row Your Boat without
32 American Recorder getting distracted and joining in with each new group beginning its part of the round. Provincetown Bookshop Editions Mysteriously, one Saturday morning in the ensemble I played with, I discovered that I “GO FOR NEO-BAROQUE!” could sometimes listen to the other play- ers and understand how my part connect- ed with theirs without losing my place and Andrew Charlton: Partita Piccola. For 4 Recorders (SATB) courting chaos. I felt occasionally that I [Prelude; Allemande; Courante; Musette— was making music, not just playing notes. a neo-baroque epitome!] (Score & Parts, PBE-25) ...... $7.95 These moments were, and remain, infre- quent; but they are a habit-forming drug. Andrew Charlton: Suite Moderne. For 3 Recorders (ATB) I no longer stop when I make a [Baroque shapes but Hindemithian harmony] mistake—not a bad lesson to learn in life (3 Playing-Scores, PBE-44) ...... $9.95 as well as in music! I can no longer listen to music without a sense of awe at Southwest of Baroque. David Goldstein’s “baroque Suite” the skills of so many wonderful players, on Cowboy Songs. For 2 Recorders (SA) (PBE-2) ...... $3.50 players I will never equal. A good source for Recorder & Viol Music of all publishers. The Provincetown Bookshop, Inc. I can now control 246 Commercial Street, Provincetown, MA 02657 Tel. (508)487-0964 the terror of public performance and OOLS TO MPROVE OUR LAYING get through it— $ANCE AT A 'LANCE "AROQUE #HAMBER -USIC not as comfortably !LL YOU NEED TO KNOW ABOUT "AROQUE 0LAY !LONG #$S DANCE IN ONE CONVENIENT PACKAGE (OURS OF PLAYING ENJOYMENT WITH EARLY MUSIC SPECIALISTS as I would like, but *JHI TURN THE DIAL OF THE WHEEL GUIDE TO THE DANCE YOU ARE STUDYING TO LEARN ITS 4=G:: TO CHOOSE FROM WITH MUSIC AND certainly far better METER TEMPO RHYTHM AND AFFECT 4HIS PERFORMANCE GUIDES FOR RECORDER PLAYERS PACKAGE INCLUDES 6ISIT OUR WEBSITE FOR COMPLETE CONTENTS than my first two efforts. s (ANDY WHEEL GUIDE 0RE($ISC#ONTINUO s )NFORMATIVE BOOKLET %ARLY )NTERMEDIATE s #$ WITH MUSIC EXAMPLES 4HE $ISC#ONTINUO I can now control the terror of public )NTERMEDIATE performance and get through it—not as comfortably as I would like, but certainly $ISC#ONTINUO )) far better than my first two efforts. Yes, I / !DVANCED )NTERMEDIATE 6ISIT OUR WEBSITE AT WWWKATASTROPHEMUSICCOM still feel the terror mount when I see those 4O ORDER POSTPAID SEND CHECKS $ANCE AT A 'LANCE $ISC#ONTINUO SERIES EACH PLUS SHIPPING AND four bars of sixteenth notes coming closer HANDLING CHARGES FOR lRST ITEM EACH ADDITIONAL ITEM TO @6IAROE=: &LORIO 3TREET and closer as I read down the page! /AKLAND #! #ALIFORNIA RESIDENTS ADD SALES TAX &OR INFORMATION CALL After these 15 years of playing the recorder, that activity has become one of the great pleasures of my life. How sad it would be, not to have discovered its delights, particularly those of ensemble playing. Recorder playing offers a rich experi- ence of lifetime learning. Old challenges are simply replaced by new ones; old pleasures by new. Occasionally, I allow myself to think that I am becoming part of a tradition of recorder players that reaches back through the centuries and will happily extend into the future. At those times, I feel privileged. Harry Howie is a longtime student of Scott Paterson and a participant in the recorder ensemble program at the Royal Conservatory of Music in Toronto, ON.
September 2006 33 ______Q & A ______Pros and cons of thumbrests, ______and curved vs. straight windways
uestion: I am a new ARS member. I re- authentic for playing early music. They rests on at least some of their recorders, Qcently bought an alto recorder and am were not mentioned in Renaissance or and actually do use them while playing. wondering whether I should get a thumbrest Baroque treatises, and no evidence of their Thus, many instrument dealers sell vari- for it. If so, what kind should I get? What is use has been found on surviving instru- ous kinds of thumbrests. the best way to attach it to the instrument, ments from those periods. (2) A thumb- The least expensive and most readily and how can I determine where to put it?— rest interferes with flexible right-hand available options are plastic slip-on types. G. D., Brunswick, OH wrist motion, making certain finger move- These can be easily positioned on a three- ments, such as low G to low A on the piece recorder by slipping them over the nswer from Carolyn Peskin: There are alto, difficult. (3) A thumbrest encourages small end of the middle joint and sliding Avarious schools of thought on the use holding the recorder in a vertical position, them into place. Aulos rests, made by the of thumbrests. Some professional players which interferes with proper breath con- Toyama Manufacturing Company, come in and teachers recommend using them. trol and causes much of the sound to be three different sizes, designed to fit plastic Others discourage their use. Still others directed towards the music stand and floor soprano, alto, and tenor recorders. Rests have mixed feelings, citing both advan- instead of outward towards the audience. made by the Kelischek Workshop— tages and disadvantages. (4) The player becomes a slave to his/her designed for sopranino, soprano, alto and Kenneth Wollitz, author of The own thumbrest and cannot comfortably tenor recorders—come in seven different Recorder Book, advocates attaching a play a recorder that has the thumbrest in sizes and will, therefore, fit most plastic thumbrest to every recorder of alto or a different position. and wooden recorders. larger size to provide a more secure hold Many professional players who have For fine wooden alto and tenor on the instrument, allowing the fingers to been trained in Europe avoid using a recorders, moderately priced self-adhering move freely without having to hold up the thumbrest to support the recorder. wooden thumbrests made in Holland are instrument at the same time. Instead, some of them use the right-hand available from a number of dealers. Four Dr. Brian Blood, managing director of little finger as a “buttress.” Others find the kinds of wood are offered (boxwood, rose- Dolmetsch Musical Instruments, also use of either a thumbrest or a buttress wood, pearwood and grenadilla), enabling recommends using a thumbrest. The main finger unnatural and constraining. They players to match their thumbrests to their purpose of a thumbrest, he believes, is to claim that such supports are unnecessary recorders. make sure the right hand returns to the if the recorder is held in a more nearly More expensive metal thumbrests, exact same position on the recorder each horizontal position. designed to be glued on for a more perma- time right-hand fingers are used. This Marion Verbruggen advises placing the nent attachment, are available from the allows the bottom holes and/or keys to thumbrest in a position where it will not Von Huene Workshop and the Prescott be reached much more easily. be used during playing, but will merely act Workshop. Von Huene’s rests are made of Recorderists who oppose the use of as a “safety net” in case the instrument either brass or silver and come with thumbrests cite various reasons. begins to slide. Most American amateur instructions for attaching them with five- (1) Thumbrests are not historically players, however, prefer having thumb- minute epoxy glue. Contact cement is the preferred adhesive for Prescott’s brass rests. (In case the thumbrest needs to be removed later, the above-mentioned adhesives should be used, not stronger- bonding types such as Krazy Glue or Super Glue.) Before installing a thumbrest with glue, make sure that it is comfortably posi- Early Music America Magazine is the quarterly tioned. Start out with a temporary attach- publication for the Early Music Community in ment with some kind of adhesive tape. Then play the recorder with the tape in North America: Professionals, Students, and place for a week or so. If you feel any strain Audience members. in your fingers or hand, move the thumb- rest and repeat the above procedure. Articles on performance practice, trends in the When you feel confident that the rest has field, recording reviews, and a new book reviews been correctly positioned, glue it in place. department. Screw-on thumbrests are still another option. These are mainly for bass Call 888-722-5288 or email [email protected] recorders, but a few dealers also carry for a FREE sample issue. plastic or metal screw-on rests designed
34 American Recorder There are various schools Windway Shapes (Line drawings by Carolyn Peskin) of thought on the use chamfers windway ceiling window of thumbrests. ramp for smaller recorders. If you buy one, have a professional repairman install it, for windway screw holes penetrating the bore can cause air leakage and ruin the recorder’s edge tone. If the rest is later removed, the holes block bore will have to be plugged with beeswax. Makeshift thumbrests can be fashioned from a variety of materials including erasers, rubber bands, rubber chair leg supports, rubber washers, and wine corks tied, taped, or glued in place. Cutaway view of headjoint Another possibility is Plasticine, which can be molded to fit the contour of the Windway shapes instrument and is easy to move if incor- rectly positioned. A possible alternative to a thumbrest, suggested by Nicholas Lander, is a thumb straight (flat) curved sling made from a piece of thin leather thonging fastened to the recorder’s foot uestion: I have heard that recorders with like European boxwood, there is a joint and looped around the player’s Qcurved windways sound better than tendency over time for flat edges to sink thumb. The length of the sling can be those with straight windways. Is that really (i.e., drop in the center), which spoils the easily adjusted by twisting it. Such an true? If so, can someone explain to me how sound and is generally impossible to arrangement should feel secure and com- and why the curvature affects the sound?— reverse. When using modern hardwoods fortable but will, of course, make rapid H.F., Columbia, SC (rosewood, blackwood, satinwood) or page turns impossible with that hand. impregnated softwoods, which are much The usual position for the bottom of nswer from Dr. Brian Blood: Windway more stable than European boxwood, the thumbrest is somewhere between tone Acurvature is irrelevant to the way the dropping edges are very rare and so, from holes 4 and 5, i.e., between the first and recorder works in terms of physics. What- a mechanical standpoint, curvature is second fingers of the right hand, so that ever effect the curvature appears to have no longer important to the stability of the player’s thumb is perpendicular to the arises almost wholly from other character- the voicing, at least as far as the edge is shaft of the instrument. Some people, istics of the instrument. concerned. however, prefer a higher or lower position. Recorders with curved windways are However—and this is a very important You will need to experiment to find the usually made to lie at the expensive end of caveat—there are plenty of fine, placement most comfortable for your the maker’s recorder-making program. For professional quality recorders with flat hand. If the thumbrest hurts your thumb, this reason, these recorders receive far ceilings/windways/edges that are easy to try cushioning the bottom of it with a soft, more attention during manufacture and play and made to the very highest springy material like cork or foam rubber. so tend to be better quality instruments. standards. That is why it is always more Curved windways are often hand- important to play a recorder to determine REFERENCES CONSULTED voiced because cutting the ceiling its suitability than to check whether the Blood, Brian. Dolmetsch Online– chamfer on a curved ceiling is more diffi- windway is curved or flat. Thumbrests,
September 2006 35 BOOK
______REVIEWS ______Advice on finding, and actually getting, grants
THE COMPLETE IDIOT’S GUIDE contains many examples of request letters, information throughout the book, it TO GRANT WRITING, BY WADDY forms and budgets used in the book. It includes a new chapter for individual THOMPSON. Alpha/Penguin Group, Inc. also includes hot links to many resource grant seekers. The CD-ROM has also been (USA), 2003. 328 pp. Paperback, $15. organizations in the U.S. and Canada. revised, with a new feature to help con- ISBN 1592571514. Tips on how to find new organizations, or struct the proposal narrative. It also Waddy Thompson was executive direc- those with web sites that have changed includes a link to a free trial offer at tor of the ARS from 1982 to 1988. He went since the book’s printing, provide many
36 American Recorder Order your recorder discs through the ARS CD Club!
The ARS CD Club makes hard-to-find or limited release CDs by ARS members available to ARS members at the special price listed (non-members slightly higher). All CDs are $15 ARS members/$17 Others unless marked otherwise. Add Shipping and Handling: $2 for one CD, $1 for each additional CD. An updated listing of all available CDs may be found at the ARS web site:
NEW! Chinese pipa. Ten Thousand Lakes. Van ____A MEDIEVAL PILGRIMAGE - A MUSICAL ____HANDEL: THE ITALIAN YEARS Elissa Eyck, TOUR OF THE MIDDLE AGES American Berardi, recorder & Baroque flute; Philomel Baroque Maute, Recorder Orchestra of the West 2004. Experience Orchestra. Nel dolce dell’oblio & Tra le fiamme, two Couperin, the excitement of rustic peasant dances, songs of important pieces for obbligato recorder & soprano; others. the trouveres, troubadours & minnesingers, the Telemann, Trio in F; Vivaldi, All’ombra di sospetto. Atma Classique. ethereal beauty of plainsong, charming melodies ____LES SEPT SAUTS: Baroque Chamber Music ____TASTE OF PORTIQUE L'Ensemble Portique. of the Cantigas de Santa Maria, the intricate at the Stuttgart Court. Matthias Maute & Sophie Features a selection of early and contemporary polyphony of the English Dunstable The French Larivière, recorders & traverso; Ensemble Caprice. chamber music, recorded and performed by Machaut & Josquin des Pres, and the songs of the Charming repertoire by Schwartzkopff, Bodino, L'Ensemble Portique in its inaugural 2002-2003 composer kings and much more. Detri. Atma Classique. season. Bach, Telemann Boismortier and others. ____SACRED AND SECULAR MUSIC FROM ____LOS ANGELES RECORDER ORCHESTRA ____TELEMANN ALLA POLACCA REBELÐ RENAISSANCE GERMANY Ciaramella, including Thomas Axworthy, conductor. Debut of 32 members Matthias Maute, recorders & traversoÐplay concerti Adam and Rotem Gilbert, Doug Millikan, Debra playing recorders from contra bass to sopranino, and suites by G.P. Telemann. Nagy, recorders, with other wind instruments, repertoire from Renaissance to Contemporary. ____TELEMANN CANONS AND DUOS shawm and sackbut plus organ. Medieval and ____MANCINI: CONCERTI DI CAMERA L'Ensemble Portique. A double disc set of music Renaissance music combining sacred music with Judith Linsenberg, recorders. Musica Pacifica plays for two recorders, Canons mélodieux and Sonates reconstructions of folksongs and arrangements Marais’s complete works for 2 treble lines and bass sans basse, by G. P. Telemann featuring Lisette based on contemporary improvisation. with varied instrumentation and orchestrations. Kielson and Patrick O'Malley. $30. LEP Records. 2CD set. EMI Records/Virgin Classics. $30. ____TELEMANN CHAMBER CANTATAS Musica ____MIDNIGHT SUN Alison Melville & Colin Pacifica Five cantatas from Harmonischer IN STOCK (Partial listing) Savage, recorders; Ensemble Polaris. New Gottesdienst, plus two io sonatas from Sonatas ____ARLECCHINO: SONATAS AND BALLETTI arrangements of traditional music of Norway, Corellisantes. 2003 Chamber Music OF J. H. SCHMELZER Ensemble Caprice Stuttgart. Finland, Estonia, Sweden, Scotland. Classic CD America/WQXR Record Award for best chamber Matthias Maute & Sophie Larivière, recorders; Disc of the Month, August 2000. music recordings of the year. Michael Spengler, gamba; Maria Grossman, harpsi- ____MY THING IS MY OWN: BAWDY MUSIC OF ____TELEMANN: DUOS POUR FLUTES, chord. Works by Schmelzer, Muffat, Vitali. Antes Ed. THOMAS D URFEY Tina Chancey, Grant Herreid & Ensemble Caprice. Matthias Maute & Sophie ____ BACH: MUSIC TO CHALLENGE THE Scott Reiss, recorders & other early instruments; Larivière, recorders & transverse flute, Alexander INTELLECT AND TOUCH THE HEART Carolina Rosa Lamoreaux, soprano. Improvisations on tunes Weimann, clavichord. Six Telemann duos & sonatas Baroque, Dale Higbee, recorders. Cantata No. 21, of love, sex & seduction in 18th-century England. alternate with five fantasies for clavichord by Maute. Part One; Cantata No. 182. ____RECORDER JAZZ Warren Kime, recorder. ____TRIO ATLANTICA Lisette Kielson, recorders. ____BAROQUE RECORDER CONCERTI Original jazz charts with a great groove. Works by Bach, Telemann, Montéclair, Leclair. HESPERUS Scott Reiss and a Baroque chamber ____REFLECTIONS, Music to Soothe and Uplift ____ VIVALDI: LA NOTTE Concerti per strumenti ensemble play works by Vivaldi, Telemann, Graup- the Spirit. Eileen Hadidian, recorder & Baroque diversi. Judith Linsenberg, recorder; Musica ner, Naudot & Babell. All recorder, all of the time. flute, with Celtic harp and ’cello. Celtic, traditional, Pacifica. Award-winning CD, featuring five Vivaldi Hesperus's first CD (1988/reissued 1999, Koch). Renaissance & Medieval melodies. Healing Muses. concerti, two sonatas. ____CONCERTI DI NAPOLI Matthias Maute, ____RENOVATA BY ERWILIAN Jordan Buetow, ____VIVALDI: SHADES OF RED: CONCERTOS recorders, and REBEL. Sonatas by Mancini, recorders et al. Recorder from the Garklein to & SONATAS FOR RECORDER & STRINGS Roberto Valentini, A. Scarlatti. Bass lead an ensemble of exotic and unique Matthias Maute & REBEL. Stylish, high octane ____A. CORELLI Ensemble Caprice Stuttgart. stringed instruments on a journey through both readings of some of Vivaldi's most beloved pieces, Matthias Maute & Sophie Larivière, recorders; energetic and expressive melodies. A purely including the popular and raucous Concerto alla Michael Spengler, viola da gamba; Maria organic, acoustic experience, Erwilian shapes Rustica, stunningly colorful Sonata on La Follia, Grossman, claviorganum. Works by Corelli & their unique sonic blend traditional melodies with and four exuberant recorder concerti. Bridge. Kuhnau. Antes Edition. distinctly modern influences. Wood, Wind & Wire. ____VON PARIS NACH WIEN Duo Caprice ____EARLY AMERICAN ROOTS Scott Reiss, ____SAMMARTINI: SONATAS & CONCERTOS Stuttgart. Matthias Maute, recorder & Michael recorders, hammered dulcimer & flageolet; Tina FOR FLUTE Ensemble Caprice & Rebel. Matthias Spengler, gamba. Works from Paris to Vienna by Chancey, viol & Baroque violin; Mark Cudek, cittern Maute & Sophie Larivière, recorders & traverso. Rameau, Satie, Maute, J. Haydn, Chopin, others. & Baroque guitar. Lively instrumental music from Extended concertos and sonatas by Sammartini & America’s past—country dance tunes, cotillions, Maute. Atma Classique. Please indicate above the CDs you wish to marches, divisions, common tunes, etc. Alto ____SCARLATTI: CONCERTI DI CAMERA order, and print clearly the following: recorder solo on Daniel Purcell’s Ground, recorder Musica Pacifica, Seven sonatas for various instru- Name ______trios on shape-note hymns. Maggie’s Music. mentations, "no poor relations to the composer's Daytime phone: (_____)______FOLIAS FESTIVAS Cléa Galhano, recorders; much more widely-known vocal output.... Address:______Belladonna. 16-17th-century music by Falconieri, de All recorder players should certainly have City/State/Zip: ______Tafalla, Merula, others. this...!"—Early Music Review. Check enclosed for ____THE FOOD OF LOVE HESPERUS Early ____SENFL (LUDWIG) Farallon Recorder Quartet _____ single CDs x $___ = $______instrumental music of the British Isles, with works (Letitia Berlin, Frances Blaker, Louise Carslake, _____ 2-CD sets x $____ = $______TOTAL by Byrd, Gibbons & Simpson through Dowland, Hanneke van Proosdij). 23 lieder, motets and instru- $_____ Playford & Coperario. mental works of the German Renaissance. Please charge the above amount to my ____FOR NO GOOD REASON AT ALL Scott ____SOLO, DOUBLE & TRIPLE CONCERTOS OF MasterCard, Visa or AmEx: Reiss, Bruce Hutton and Tina Chancey sing and BACH & TELEMANN Carolina Baroque, Dale #______play over 30 early and traditional instruments. Higbee, recorders. 2-CD set, recorded live. Exp. Date: ______Hesperus's first crossover CD, fusing Medieval & $24 ARS/$28 others. Cardholder’s signature: ______SONGS IN THE GROUND Cléa Galhano, Renaissance music with Appalachian, blues, Cajun, Mail to: recorder, Vivian Montgomery, harpsichord. vaudeville, swing. Recorder heard as jug, blues ARS, 1129 Ruth Dr., St. Louis, MO 63122-1019 U.S. Songs based on grounds by Pandolfi, Belanzanni, harmonica, pan pipes—and, of course, recorder. You may fax your credit card order to Vitali, Bach, others. 10,000 Lakes. ____GATHERING: HUI; folk melodies from China 314-966-4649. and 17th-century Europe, with crossover collabora- ____SWEET FOLLIA, THE RECORDER ON TWO tions among Cléa Galhano, recorder, Belladonna CONTINENTS Ensemble Caprice. Matthias Maute Baroque Quartet, and guest Gao Hong, & Sophie Larivière, recorders. Purcell, Morley, CHAPTERS & CONSORTS ______A very busy Play-the-Recorder Month
18 adults. Two adults and 18 of the chil- Birmingham, university students in music dren were beginner/novice performers. education were presented a program The Mississippi event was a program involving a quick historical overview of entitled “Roman de Silence,” a Medieval music for recorders from Medieval adventure in story and song. An outreach through Renaissance, then Baroque and Once again, March was observed by many event in Oxford sponsored by the contemporary. A newly-formed consort recorder players as Play-the-Recorder University of Mississippi Department of based in Florence put on a recorder Month (PtRM). Many chapters and Women's Studies, it was presented by demonstration there for about 80 individuals representing all parts of the PanHarmonium trio from the students in grades five through eight (two world participated in the event—by Birmingham chapter. PanHarmonium, consort members shown with the students in performing for others, demonstrating the in collaboration with storyteller photo at upper left: l to r, Charlotte Manis recorder, sponsoring workshops, or Dolores Hydock, produced several and MaryLyn Jackson). This demonstra- otherwise just generally publicizing performances of "Sir Gawain and the tion incorporated a dozen or so children our instrument. Those who sub- Green Knight" and "Silence" during who played recorders on a piece entitled mitted reports for the contest, which is March. Both productions are storyteller Out in the Garden. Then they went back in sponsored and judged each year by the adaptations of epic Medieval poems of time travel to about 1100, and worked ARS Chapters & Consorts Committee, the same name, and combine musical forward with tunes arranged for recorders showed imagination and versatility. All accompaniment with the storyteller's art from Southern Harmony, the Romantic entries deserve congratulations. to create a theatrical experience. Three and Classical eras, and in celebration of Prizes, all donated by ARS Business performances of "Gawain" and one of Mozart’s 250th birthday. From the Members, are given for the most imagina- "Silence" were given at four high schools Baroque era, a Telemann fantasia written tive event and for the largest percentage around the state of Alabama. The for recorders was demonstrated, as was a increase in chapter membership. "Gawain" performances were sponsored Bach piece. The Florence consort was The two top winners this year were the by a grant from the Alabama State joined by the children in an encore, Hot Birmingham (AL) Chapter and St. Council on the Arts/Arts in Education/ Cross Buns, successfully ending the event. Louis (MO) Recorder Society (SLURS). Rural Schools Touring Program. The chapter received 15 brightly Birmingham extended themselves in Other events in Alabama were in three colored Yamaha plastic soprano recorders many ways—including playing in two different cities. In Rogersville, participants donated by the Von Huene different states, Alabama and Mississippi. were children from fourth to sixth grades Workshop/Early Music Workshop of They involved a total of 86 children and involved in an after-school program. In New England in Brookline, MA. St. Louis had a total of 10 events in March, plus two that couldn’t fit into the month because of scheduling. These comprised two each of meetings, school events and church events, plus a dancing session, concert, TV appearance featuring SLURS, arts appreciation day in an elementary school, and a marathon event (the recorderists played music while the runners ran!). There was a grand total of 82 performers involved—as well as additional singers and country dancers, and players of other instruments such as crumhorn, cornamuse, flute, harpsichord, viola da gamba, and more. The unique marathon event involved players stationed along Mile 13 and Mile 20 (a loop) of the St. Louis Marathon. Many runners offered positive comments as they passed the musicians, who had such a good time playing notes of encour- agement that they’re ready to do it again. 38 American Recorder John Eisenhauer (standing) leads Highland Park Recorder Society members at the New Jersey Veterans' Home (l to r): Elizabeth Falconer-Salkeld, Donna Messer (partially hidden), Peter Guarnaccia, Russ Condon; Lynn Gumert and David Brookes are hidden.
fine editions of early & contemporary music PRB PRODUCTIONS Peralta Avenue, Albany, CA Phone: -- Fax: -- E-mail: [email protected] On RecorderDay!, unseasonably warm HPRS had two events in March plus Web: www.prbmusic.com weather in St. Louis inspired a flash mob one on April 2. One took place in an of six recorder players to play outside the elementary school in Elizabeth, NJ; St. Louis Art Museum for two hours. Early another in the New Jersey Veteran’s Home in the month of March, a flash duo roamed in Edison, NJ; and a third in a church in the University of Missouri–St. Louis New Brunswick, NJ. For all these events, campus playing a set of three Morley the total number of audience members canzonets in a variety of locations and plus artists was 1,025, including more publicizing their upcoming concert set for than 650 children in the audiences. about three weeks later. [Editor’s note: For The HPRS events are supported in part Honeysuckle Music those not in cities where flash mobs have been by a grant from the Middlesex County taking place, in these events a group assem- Cultural and Heritage Commission Recorders & accessories bles suddenly in a public place—generally and its Board of Chosen Freeholders. ... with no political or social agenda—and does Their prize was a gift certificate from something unusual for a brief period of time, PRB Productions in Albany, CA. Music for recorders & viols then quickly disperses. Flash mobs are often Five events plus members’ night filled organized with the help of the Internet or the SBRS schedule. These took place in a Jean Allison Olson other electronic media. Playing music, church (two different times), schools (two 1604 Portland Ave. especially on instruments that are relatively times), a senior community center, and a St. Paul, MN 55104 portable like recorders, seems to lend itself regular chapter meeting. They had a few 651.644.8545 well to the flash mob trend—which also beginners participate, plus one child who [email protected] involves such activities as showing up wear- ing a certain color, having a pillow fight, eating chocolate chip cookies, etc. To see examples, search online for the term “flash R mob”; a number of event sites will be listed.] The SLURS spring concert was highly publicized on a variety of media. The con- E cert involved 26 players, including nine from outside the chapter As their prize, SLURS received a gift certificate from C Lazar’s Early Music in Sunnyvale, CA. Other prize winners include the East Bay (CA) Recorder Society (EBRS), the O Highland Park (NJ) Recorder Society (HPRS), and South Bay (CA) Recorder Society (SBRS). EBRS had five different events, includ- R ing a performance by their Junior Recorder Society; a workshop conducted by Adam Gilbert; a concert in music store A Cheer- D ful Noyse, where Pete Rose’s Dynamo was such a hit that it was played three times for the crowd of 20 to 30 adults and children; E passing pedestrians also came in to listen. EBRS also held its annual members’ recital, and a solo recital of contemporary R music was played by Helga Wilking, EBRS president. The chapter’s efforts were recognized with a gift certificate from S Honeysuckle Music in St. Paul, MN.
September 2006 39 performed with the be- Many other groups and people report- Also in March, Vicki Boeckman and ginners. Magnamusic ed activities to the ARS, and they deserve David Ohanessian (in photo by William Distributors, Inc., in mention for the energy and time that went Stickney at upper left) performed an all- Sharon, CT, provided into planning and executing these events. recorder concert at The Bloedel Reserve, their prize, a selection A Boulder (CO) Chapter quartet Bainbridge Island, WA. The program of recorder music. called Fipple Folk performed in an went from Medieval to Matthias Maute A gift certificate elementary school. The much larger and back again, with quite a variety of from A Cheerful Colorado Recorder Orchestra—players both music and instruments. Both Noyse in Albany, CA, from Boulder, Denver and Fort Collins Boeckman and Ohannesian played at was won by Kay chapters—performed concerts in Fort least a dozen recorders, ranging from Hettich and will be Collins and, on RecorderDay!, at St. James Medieval sopranos to contra bass— used by the newly- Episcopal Church of Boulder. An annual instruments in F, C, D and G pitched at formed Redding (CA) fund-raising concert was held, with the 415 and 440 as appropriate to the music; Chapter, of which she members of the Boulder chapter as many of the instruments were built by is a member. The featured performers, along with a silent Ohannesian. The concert was an award was for the most imaginative auction to raise money for scholarships eye-opener for the audience, which was event during PtRM. On RecorderDay!, she and operating funds. not the typical early music crowd—some set up in a gym, site of a church rummage The Greater Cleveland (OH) having only a vague awareness at all of sale. Between 8 a.m. and 2 p.m., with a Chapter scored with its PtRM events recorders. Audience members were lunch break, she entertained over 300 by offering two activities: a two-hour impressed by both the haunting sound people. The acoustics were good, as well informal concert at the Cuyahoga County of the early flutes as well as the as the volume level in the large space. Public Library’s Beachwood Branch; and pyrotechnic playing on some pieces. People chatted with her, and one enthusi- a workshop directed by Lisette Kielson Nearby in Kirkland, 20 members of astic woman decided to learn the recorder and attended by 21 players from Ohio, the Moss Bay (WA) Recorder Society and join the Redding group. The staff at Michigan and Pennsylvania.. (MBRS) gathered for music, conversation the rummage sale check-out also got The concert was promoted via flyers and treats on March 18. The group involved by telling everyone about distributed to other library system branch- welcomed 10 visitors, including several RecorderDay! To end her day, Hettich es, plus through various media—and was children, who came and went over the played recorder in the evening as the rewarded by an appreciative audience in course of the 2.5-hour session directed by prelude for the Saturday church service— attendance. Four novices joined the ARS Wini Jaeger, MBRS music director and the end of a fruitful and busy day! after hearing the concert, and two of them ARS Honorary Vice President. She Courtly Music Unlimited donated a later audited the workshop. Two other presented music by composers of the 14th woodgrain set of Yamaha soprano and alto novices, who saw the workshop notice in through 20th centuries—some of which recorders that was awarded to Olde Pipes the newspaper, asked to receive the was suitable for beginners, while other in Charleston, SC, for the largest percent- chapter newsletter. pieces presented more challenges. age increase in membership during PtRM. Since the members of the Jasmin Sarasota (FL) Chapter members held This once-small group was started by Recorder Consort in Greenville, SC, their annual workshop on March 11, with Hillyer Rudisill in 2002 and became a could not get together on RecorderDay!, Valerie Horst as guest clinician (photo small chapter of the ARS in early 2005. member Sharon Howell took her below by Charles Schwartz). Horst selected The group comprises mainly senior sopranino recorder along on her hike in music from many centuries—and, citizens and has meetings at Lowcountry Caesar’s Head State Park near her home. because the group had gathered on “the Senior Center. After hiking an area called Dismal Trail designated day,” they learned Dynamo by (with a 1,200-foot drop in 1.5 miles), and Rose. After careful rehearsal, they were practicing beside Matthew’s Creek and able to play the exciting piece up to tempo over it (suspended on cable), she reported at exactly 3 p.m.—and reported that it was that she was, indeed, a “human dynamo” a fun experience to know that hundreds of Courtly Music at a few minutes before 3 p.m., when she recorder players from around the world Unlimited stopped to join others around the world in were joining them in performing the playing Rose’s Dynamo. special piece at that very moment. 800-2-RICHIE (800 274-2443)
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40 American Recorder wish they could be at least Sara Carlock played alto recorder on two people for the day, and a part written for bamboo flute in eight sample twice as many of- performances of Aida. Five members of ferings.” Zephyrus, an open group meeting in the Last, but not least, Utah Valley, accompanied a Shakespeare Utah’s seven members play in an elementary school, as well (who unfortunately have as giving an historical overview no chapter, but nonethe- performance entitled “700 Years in Half Nine residents of the Otterbein- less stay busy on their own) reported a an Hour” at two other elementary schools. Lebanon Retirement Community are the number of interesting recorder events, in- Not quite making it into March, members of the Otterbein-Lebanon cluding Mary Johnson playing with Musica Antiqua of Utah gave perform- (OH) Recorder Choir. The group Celtic dance band Ballydoolin for nurs- ances in April in Provo and Salt Lake City; performs a wide variety of traditional and ing home residents as part of the “Heart and the Early Music Ensemble of the classical music, plus sacred hymns, in and Soul” project; and with two other University of Utah presented a program their monthly performance for their recorder players at services at All Saints of Renaissance music and dance. community’s United Methodist Church Episcopal Church in Salt Lake City. Eight What a wonderful variety of ways there service. On RecorderDay!, they played a recorderists played Renaissance and are to enjoy our instrument and share short concert of Renaissance dances for dance music with a variety of other the pleasure of it with others! Now is residents of the time to the communi- begin your ty, and culmi- plans for nated with the Play-the- playing of Recorder Dynamo at Month in 3 p.m. Histori- 2007—and cal and other don’t be background in- afraid to formation was adapt some provided by of the ideas their director, here to your as well as infor- own loca- mation about tion. the ARS and In Utah, Zephyrus accompanied a Shakespeare Marilyn RecorderDay!. play: (l to r) Bitsy Schultz, Penny Gardner, Perlmutter The audience Marta Adair, Wen-Di Adair, Carol Gardner, was invited to Doug Gardner, Brittany Gonzales, Marci Harris. play along with the group on their own, or on supplied, instrumentalists from several states in recorders. conjunction with the Society for Creative See the next page for The Southern California Recorder Anachronism, which scheduled a Society teamed up with the Orange “kingdom-wide” event on RecorderDay! more Play-the-Recorder County Recorder Society to give a per- The SCA also hosted a local event later in formance at the Torrance Community March, in which five recorder players Month news. Center in Los Angeles, honoring four well- participated. known members of their community— Gloria Ramsey, Elizabeth Zuehlke, Eastern Connecticut Shirley Robbins and Lia Starer Levin Recorder Society (who regrettably were incorrectly identified members played in the photo printed in the May AR—but are Pete Rose's Dynamo shown in the same photo at the top of this at the meeting house page, l to r). Nearly 90 performers were in Middletown involved. on RecorderDay! Participants in a workshop sponsored (l to r, row 1: by the Triangle (NC) Recorder Society Joyce Goldberg, were able to take classes from Marilyn Betty Monahan Boenau, Larry Lipnik, Stewart Carter, and Peggy Kaylin; Michelle Oswell, Patricia Petersen and row 2: Betsy Kathy Schenley. Fifty recorder players and Goldberg and early music enthusiasts took advantage of Joan Bloom.(Photo this opportunity offered in March, and it by S. E. McCombs was reported that the “variety and intrigu- Thompson) ing subjects of the sessions made them
September 2006 41 Chicago Chapter plays Music by Contest Winners On March 19, with a brisk sunny day promising spring, the Chicago (IL) ARS Chapter celebrated the winners of the 2005 Recorder Composition Contest with food, conversa- tion and musicmaking. We gathered first at a local restaurant, where the composers present were given a chance to get to know each other: Nancy Bloomer Deussen from California, who placed first; Suan Guess-Hanson from downstate Illi- nois, who shared third prize with Karl Stetson, based in Con- necticut (and unable to attend); Patricia Morehead, with Chicago stories to tell (her list of compositions is daunting); and me. (See the March 2006 AR for the official announcement about this year’s winners and more information about the biennial contest, initiated 18 years ago by an idea from chapter member Hilde Staniulis.) The playing session was held in St. Luke Evangelical Lutheran Church on the north side of Chicago, site of chapter meetings for the last 10 years. All told, there were 35 people in (l to r) Susan Ross, Karen Crotty, Nancy VanBrundt and attendance: 20 players and 15 guests. The session focused on Esther Schechter of the Dearborn Winds Quartet, with the winning four—rather than the usual three, since two Nancy Bloomer Deussen, first prize winner shared the third prize—plus an opening item identified as Noted German Entry by Dietrich Schnabel. In 1994, Schnabel formed the Dortmund Recorder Consort, a group currently made up of some 50 players of all ages in Germany. Because of time constraints, we heard only a selection of three from a set of 12 pieces called The Girls: “Sylvia,” “Carla” and “Allyson” (SATB). All were played by The Music Institute of Chicago Recorder Ensemble coached by Patrick O’Malley (who himself had been the first prize winner in the original 1988 competition). Schnabel’s pieces were fairly short and, to the point, and ideally suited for both small and large groups. The 2005 third prize was shared between previous Chicago contest winners, Stetson and Guess-Hanson. Two-time winner Stetson submitted an engaging set called Impressions of Three Latin-American Dances (AATB), with jaunty syncopes, a variety of tem- pos—rhumba, tango, mambo—and some nice licks for the bass. Our conductor, Laura Sanborn-Kuhlman, made Guess-Hanson’s Treasures (SATB) really swing when played by the large group, to fine effect. This is Guess-Hanson’s third time to win in our chapter’s composition competitions. Second prize was awarded to Sonatine a 4 for SATB by Will Ayton, played by the Ridgeway Consort. Sonatine offered nice variety in the progression of the movements—a waltz, then a fugetta with a strong sense of counterpoint. First prize went to Nancy Bloomer Deussen’s Impressions around G (SATB). Her track record as a composer is the strongest of those who entered this year, and it showed in the variety she could draw upon for melodies, harmonic color, rhythmic effects, strong unisons, changes in meter, and relationship of the tune to the accompanying parts. For more information about her, see
CHAPTER NEWS In March, Chapter newsletter editors and the Twin Cities (MN) publicity officers should send materials for Recorder Guild and publication in American Recorder to : North Star Viols AR, 7770 South High St., shared a joint workshop Centennial, CO 80122-3122, with Jack Ashworth by e-mail
42 American Recorder ON THE CUTTING EDGE ______“Recorder in Jazz,” continued (again), ______and recorder with clavichord
continue to be gratified by the number recorder owned by Kirk is in the
September 2006 43 MUSIC REVIEWS ______Lizards and cuckoos, duos and more, ______folk music of many countries, music for church playing
CORRECTION: IL PRIMO..., BY GIOVANNI generation. He has served for many years marked “if used as an encore, the player GASTOLDI, reviewed in the March 2006 as professor of music at Cardiff University. could exit whilst playing the repeated issue of American Recorder, contains Hoddinott’s Lizard is a short set of bars.” The outer movements are difficult, pieces by Vecchi, Rogniono, Cima and variations in seven brief sections. It is particularly if played at the marked tempo, others, as well as those by Gastoldi. inspired by a light-hearted poem of Gwyn but the middle movement is only The title is misleading and caused misin- Thomas (on the subject of a lizard) that moderately difficult. terpretation of the review by the editor. has apparently also inspired numerous Carson P. Cooman AR regrets any confusion. other works by Hoddinott. The piece contains some difficult passages THREE CONTRAPUNTI SOPRA THE TWO CUCKOOS, BY (although an ossia measure is provided in IL CANTO FERMO FOR SIX INSTRU- DAVID MATTHEWS. Peacock Press PJT 037 one spot for those who wish to avoid MENTS, BY COSTANZO FESTA. London Pro (Magnamusic), 2004. S. Sc 2 pp. $9.25. upper register flutter-tonguing). The short Musica LPM IM22 (Magnamusic), 2004. LIZARD: VARIANTS FOR SOLO sections of varied character will also pres- SATTBB. Sc 11 pp, 6 pts + 6 pts TREBLE RECORDER, BY ALUN ent interpretative challenges. Like many of transposed + 3 in alto clef, 1 p ea. $7. HODDINOTT. Peacock Press PJT 043 Hoddinott’s works, the melodic material The selections included in this edition (Magnamusic), 2005. S. Sc 7 pp. $10.25. is not particularly memorable, but the are the only six-part pieces from a FIPPLE-BAGUETTE: THREE dramatic shapes have appeal and interest. collection of 157 settings of the same ENCORES FOR SOLO RECORDER, cantus firmus that is preserved in the OP. 76, BY DAVID ELLIS. Peacock Press MS C36 of the Civico Museo Bibliografico PJT 032 (Magnamusic), 2005. S and These latest installments Musicale in Bologna, Italy. According to S’o solos. Sc 7 pp. $11.50. in John Turner’s “The the introductory notes by the editor, These latest installments in John Bernard Thomas, these pieces were once Turner’s “The Contemporary Recorder” Contemporary Recorder” mistakenly attributed to Giovanni Maria series focus on short unaccompanied Nanino (1543-1607). pieces. David Matthews (b. 1943), one of series focus on short However, Thomas has concluded that the most noted British composers of his they are the work of Costanzo Festa (1490- generation, was an assistant to and unaccompanied pieces. 1545) because of their early-16th-century student of Benjamin Britten, as well of style and due to the known fact that Festa Nicholas Maw and Peter Sculthorpe. He is British composer David Ellis (b. 1933) composed numerous settings of this known for his chamber and orchestral is noted mostly for his orchestral music. particular cantus firmus (similar to the music, which is widely performed During his active career, he worked common bassadanza La spagna). Festa throughout the world. His collaboration primarily for the BBC throughout England was a forerunner of Palestrina and one with musicologist Deryck Cooke to create and served finally as Head of Music for of the first native Italian madrigalists. a performing version of Mahler’s incom- the BBC North. He has served as Due to the extremely low pitch range of plete tenth symphony is widely known. composer-in-residence with numerous Contrapunto 119, the edition includes The Two Cuckoos bears the subtitle ensembles and has composed works for both an original and transposed version “Beethoven in Nimbin” and was written as many significant performers. (up a fourth) in the score and parts. Addi- a 90th birthday gift to the British musicol- Fipple-Baguette is a set of three light- tional parts in the alto clef for three instru- ogist Wilfrid Mellers. It is a very small hearted “encore” movements that could ments are included for all three pieces. scherzo, based on the song of the be performed individually or as a suite. Therefore the parts, which are printed on Australian cuckoo (which Matthews heard The first, “Round Dance,” is bright and both sides, are a bit confusing to sort out on a trip in Nimbin, New South Wales). lively—with arabesque figures dancing at first, but give welcome options for A small quotation from Beethoven’s sixth through the instrument’s upper register. recorder and viol players. symphony connects this work to the For the second movement, “Sarabande The clarity of style of these cuckoo sounds in that piece. Matthews’s with Doubles,” the composer takes a slow three Contrapunti resembles that of scherzo is of moderate difficulty and and stately theme, and subjects it to a few Palestrina. They are melodically pleasing would be most suitable as an encore, giv- short variations and decorations before and of moderate difficulty for players en its brief duration and fleeting character. returning to the opening mood. experienced in performance of With the untimely death of composer The last movement, “End-Piece,” Renaissance music. They are suited William Mathias (1934-1992), Alun humorously recalls the previous both to recorders and to mixed consorts. Hoddinott (b. 1929) was left unquestion- movements before ending in a “repeated The edition is easy to read from both ably as the leading Welsh composer of his vamp” figuration. This movement is score and parts. Though the barlines are
44 American Recorder helpful to modern musicians who are cally, though occasionally requiring contrary motion in the runs, but which accustomed to them, especially in the advanced intermediate ensemble skills. would be better with less than all three score, they do tend to sometimes obscure The edition preface advises that the upper parts playing in unison. the rhythmic divisions of this music. A third part may be omitted, as noted in the The awakening of Don Quixote, the possible alternative might be to write the original manuscript. That part combines first programmatic movement, has a parts without them, using rehearsal letters extensive rests with doubling one or more pleasant melody, like bird song. It is more at cadences instead. of the other parts, but it does enhance the trio than quartet, with much duplication Finally, one small matter that detracts a harmonies. in the accompanying parts. In the bit from the perfection of this otherwise All four parts play in complete unison Dulcinea movement, the overwrought very good edition concerns several typo- in nearly a fourth of the first Allegro move- sighs can be truly sappy. Finally, in Don graphical errors—one in the notes, and ment of Le Phénix. Accurate unison on the Quixote’s nighttime repose, underlying the other in the inconsistent spelling of fast-moving but regular rhythms is feasible snores are paired with agitated upper-part the composer’s name. for intermediate groups, but intonation dreams. Beverly Lomer is an adjunct instructor in will require skillful ensemble handling. The Don Quichotte-Suite was originally humanities at Nova Southeastern University Several Alto I and Tenor duets, though, are an orchestral work, scored for strings, and in Ft. Lauderdale, FL, and a recorder player quite pleasing. perhaps could be better adapted to the with a special interest in original notations. The second movement, Adagio, is different character of recorders—or She received her M.A. in Music and Ph.D. in essentially an Alto I solo with Tenor perhaps recorders are not the optimal Comparative Studies, with a concentration accompaniment. A player adept at instrument for a work meant to be a in gender and music, from Florida Atlantic Baroque ornamentation would be best for raucous jest. Nevertheless, some recorder University in Boca Raton. She is the author of the solo, even though the ornamentation ensembles may have fun with it! the entry on Hildegard of Bingen in the is written out. The middle parts play only Sally S. Harwood and the Namenlos Encyclopedia of Religion and Nature at the beginning and end, the same six- Early Music Consort, Lansing, MI: Elmore (Continuum, 2005) and has presented measure phrase, but they do add lovely Eltzroth, John Gauger, Amy Oeseberg, Ann papers on early women musicians at Amherst moving harmonies in those spots. Slowins and Harwood. The group has been Early Music Festival, the Thinking Gender The final movement, another Allegro, playing together since 1990—primarily for Conference at UCLA, and the International again includes much two-, three- or four- their own enjoyment, although they perform Alliance of Women in Music Congress. She part unison playing, but is more interest- occasionally at early music festivals, art fairs, has produced several concerts of music by ing harmonically than the first Allegro. and other community and social events. women composers, including a premiere U.S. Telemann’s Don Quichotte-Suite is pro- appearance of two members of the English grammatic, with seven short descriptive COUNTRY LIFE: FOUR SCENES, BY ensemble, Musica Secreta, which is dedicated movements following a lengthier French RONALD AUTENRIETH. Moeck ZFS #782 to performance of this repertory. She is overture—all light music intended to be (Magnamusic), 2004. SS or TT. 2 sc, 4 pp currently president of the Palm Beach played with exaggeration and humor. Don ea. $7. Recorder and Early Music Society and is an Quixote’s attack on the windmills, of Ronald Autenrieth is a contemporary active member of the Miami ARS chapter. course, is depicted, along with Dulcinea’s composer and arranger living in Germany. She divides her time between Lighthouse remoteness, and Sancho Pansa’s cheerful He has created these four short vignettes Point, FL, and Pocono Summit, PA. bemusement. for two equal C instruments as a set of This arrangement of the suite is prima- scenes evocative of a day in the country. LE PHÉNIX, BY MICHEL CORRETTE, rily intermediate, but it does present tech- Descriptions of each of the scenes are ARR. ULRICH HERRMAN. Noetzel N 3825 nical challenges. The windmill attack included, but the composer encourages (C. F. Peters), 2003. AAAT or AAT. Sc 9 pp, (think Telemann qua Vivaldi), if truly the players to use their own interpreta- pts 3-4 pp ea. $14.95. performed tres vite, would benefit from tions if they wish. The music is well-laid- DON QUICHOTTE-SUITE, BY GEORG double-tonguing and may be considered out, with each scene filling a single page. PHILIPP TELEMANN, ARR. ULRICH advanced intermediate. The glissandi in These pieces can be approached on HERRMAN. Noetzel N 3826 (C. F. Peters), the Sancho Pansa movement could slow many levels and are appropriate for inter- 2002. SATB. Sc 14 pp, pts 6 pp ea. $22. down the tempo inappropriately if not mediate through advanced players. Michel Corrette (1709-1795) is best played really quickly. Frequent scoring in Although Autenrieth recommends them known for his instrumental method books unison increases the difficulty for no good for younger players, they are equally that are valued for their insight into musical reason—especially in the delightful for adults and provide unique historical performance practices. His overture, which rightly retains the bass little challenges that keep them interesting performance works were often derivative, for players well beyond the elementary and Grove Dictionary of Music and KEY: rec=recorder; S’o=sopranino; S=soprano; level. There are a few small technical chal- Musicians characterizes them as “conven- A=alto; T=tenor; B=bass; gB=great bass; lenges for less-skilled players, including a tional and thematically uninspired.” cB= contra bass; Tr=treble; qrt=quartet; pf=piano; fwd=foreword; opt=optional; number of accidentals—and, for the top Judging from the relative availability of perc=percussion; pp=pages; sc=score; line player, a high C near the end of the modern recordings, Le Phénix seems to be pt(s)=part(s); kbd=keyboard; bc=basso con- final scene. Also, one piece is in 5/4 time. the most enduringly popular of his works. tinuo; hc=harpsichord; P&H=postage and The first scene describes a house sitting It is a Baroque concerto in three move- handling. Multiple reviews by one reviewer are on open farmland. The music is a flowing ments, originally set for four bass-clef in- followed by that reviewer’s name. Please submit music for review to: Constance M. Primus, Box little melody, set mostly in parallel thirds. struments. This arrangement for four 608, 1097 Main St., Georgetown, CO 80444. The first ending terminates on a minor recorders is at intermediate level techni-
September 2006 45 seventh, then the entire piece is repeated, CHANTS AND REFLECTIONS FOR The music is clearly printed and easy to closing this time with a diminished fifth RECORDER, BY MARIE AND ROBERT read. However, there are awkward page (the very dissonant tritone interval) CONSTAS. Mel Bay MB99644, 2003. Duos turns; copies would certainly be required resolving to a fourth. One can almost see for various sizes of recorders. Sc 71 pp. for performance. In addition, pages that isolated house and feel the loneliness, $10.95. (Download available at started to come free from the binding dur- and the haunting sound of the final
46 American Recorder us that he has put these pieces together so that they may be quickly accessible for ARS Membership Enrollment and Renewal playing as worship preludes or as encores. K K I have been unable to find any bio infor- I am a new member I am or have been a member mation on Herrmann, except that he resides in Verden, Germany, and has U.S./Canadian Memberships Student Membership produced many other recorder arrange- K $40 One Year (Enclose proof of full time enrollment) ments and compositions. K $70 Sustaining (Receive Hotteterre Hands pin) K $20 U.S./Canadian One Year K $75 Two Years K $40 U.S./Canadian Two Years There is something for everyone in K $25 Foreign One Year these three collections. Some may feel Foreign Memberships K $50 Foreign Two Years that arrangements from the Classical and K $50 One Year Romantic periods are inappropriate for K $95 Two Years recorders. In these periods, bass parts can K $60 One Year Workshop Membership be uninteresting, with most of the melod- K $120 One Year Business Membership ic interest in the soprano, but Herrmann has made many of his arrangements K Do not list my name in the ARS Directory work fairly well. And recorder players do K Do not release my name for recorder related mailings K Do not contact me via e-mail. need exposure to these important periods of music. K My address, phone and email address are the same as last time. Any or all of these books would prove to be valuable additions to the libraries of ______intermediate through advanced consorts. Name Phone Number ______Bill Rees Address/City/State/Postal Code E-mail Address
EASY DUETS FOR SOPRANO Please charge to: (Circle one) VISA MasterCard AMEX Discover RECORDER, ED. COSTEL PUSCOIU. CC#:______Exp. Date: ______Mel Bay Publications MB898964, 2004. SS. Sc 39 pp. $9.95. Signature of cardholder:______This lovely collection of 37 soprano duets was chosen by Costel Puscoiu, who Clearly Print Name as it appears on Card:______composed some of them—but since there Credit Card renewals may be faxed to 314/966-4649. Call 800/491-9588 to renew by phone was no foreword in this volume, little can Demographic Information be written about him. (optional information collected only to enhance ARS services and provide statistics to grant makers): A classroom teacher of fourth- to sixth- All information on members’ activities in the ARS files is strictly confidential graders would find this book ideal to sup- and only used internally. plement first- and second-year players I am a member of ARS Chapter ______K I am the Chapter Contact who show advanced musical ability. A pri- I am a member of ARS Consort ______K I am the Consort Contact vate instructor who provides group study in a studio could also utilize these pieces. Your age: K Under 21 K (21-30) K (31-40) K (41-50) K (51-60) K (61-70) K (71+) Duple, triple and quadruple meters Please check all that apply: make these songs very playable; however, (Since your recorder activities may change from year to year, please update this information one song employs a 5/4 meter and with each renewal): another 7/8. Key signatures do not vary from C, F and G major and their related K I am a Professional Recorder Performer. K I wish to be included in the list of Recorder Teachers in the ARS Directory and web site. minors (A, D and E). The range goes from low C to A above the staff. I Teach: (circle your choices) Seven of Puscoiu’s own compositions Children High School Youth College Students Adults are spaced throughout the book. They are Beginner Intermediate Advanced Pre-Professional simple and repetitive, yet interesting and Individuals Children’s Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly entertaining. However, the collection is dominated by 16 folk songs representing Where I Teach: 12 different countries. This unusual Music Studio Public or private school Community Music School sampling of music from South America, College Other : ______Europe, Central Europe and Greece/ K I am an ARS Certified Teacher who passed ARS exams administered until 1976 (5) Macedonia would be a great addition to K I am an ARS Certified Level II Teacher* (8) International Day celebrations at schools. K I am an ARS Certified Level III Teacher* (7) In addition, 13 pieces are composi- * I passed the special teacher exam(s). Not to be confused with the Level II and Level III exams taken by players. tions by the music masters from the American Recorder Society Phone: 314-966-4082 French and German Baroque, Classical Fax: 314-966-4649 and Romantic periods. All in all, this duet 1129 Ruth Dr. Toll-Free: 800-491-9588 volume is a welcome addition to soprano St. Louis MO 63122-1019 [email protected] www.americanrecorder.org duet performance. Enjoy!
September 2006 47 ARS PUBLICATIONS GREENSLEEVES: IRISH, SCOTTISH Erich Katz Contemporary Music Series Members Non-Members AND ENGLISH FOLKLORE FOR 2 A Short Tale for Two Basses Suzanne M. Angevine (Level II) (2 scores) $5 $8 RECORDERS, BY SIEGLINDE HEILIG AND Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score & parts) $10 $18 UWE HEGER. Noetzel N4535 (C. F. Peters), Dorian Mood Sally Price (SATB) (Level II) (score & parts) $10 $18 Double Quartet for Recorders Peter Ballinger (Level II-III) (score & parts) $10 $18 2005. AT. Sc 27 pp. $12.95. Entrevista Frederic Palmer (SATB) (Level II) (2 scores & 4 recorder parts) $8 $14 Here is a beautiful duet collection of Kyrie and Vocalise for Soprano Voice &Recorders Stanley W. Osborn $8 $14 (SATB) (Level II) (2 scores & 4 recorder parts) folk music from the United Kingdom for Picnic Music Jeffrey Quick (SATB) (Level II) (score & parts) $5 $8 alto and tenor recorders. The alto/tenor Six Short Pieces for Three Recorders edited by Alan Drake $8 $14 (3 scores) Vaclav Nelhybel (AA/TT) (Level II) sonority is a unique sound and an oft- Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12 (Level II) (2 scores) sought-after combination. However, that Sonatine for Three Altos Lee Gannon (Level III) (score & parts) $14 $26 instrumentation is not common in the Suite of Jewish Folk Tunes Erich Katz (S S/A8 A/T) (Level II) (three scores) $10 $18 classroom setting—but perhaps it should Musical Editions from the Members’ Library: be used more often! ARS members: 1 copy-$3, 2 copies-$4.50, 3-$6, 4-$7.50, 5-$10, 6-$11.50 Non-members (editions over 2 years old): 1 copy-$5, 2 copies-$8.50, 3-$12, 4-$15, 5-$19.50, 6-$23 These pieces are not difficult, The ARS is happy to provide photocopied enlargements of any Members’ Library edition at the same prices. appropriate for advanced beginners to Please specify “Members’ Library Enlargement.” intermediate players. Of the 25 selections, Arioso and Jazzy Rondo (AB) Carolyn Peskin Poinciana Rag (SATB) Laurie G. Alberts Bruckner’s Ave Maria (SSATTBB) Santa Barbara Suite (SS/AA/T) Erich Katz approximately half are those we common- Jennifer W. Lehmann, arr. Sentimental Songs (SATB) David Goldstein, arr. ly play and enjoy. The remaining pieces are Canon for 4 Basses (BBBB) David P. Ruhl Serie for Two Alto Recorders (AA) Frederic Palmer Dancers (AT) Richard Eastman Slow Dance with Doubles (2 x SATB) Colin Sterne less familiar, and therefore fun to explore. Different Quips (AATB) Stephan Chandler Sonata da Chiesa (SATB) Ann McKinley Duple, triple and quadruple meter are Elegy for Recorder Quartet (SATB) Carolyn Peskin S-O-S (SATB) Anthony St. Pierre Elizabethan Delights (SAA/TB) Three Bantam Ballads (TB) Ann McKinley standard here; key signatures are C, F, D Jennifer W. Lehmann, arr. Three Cleveland Scenes (SAT) Carolyn Peskin Gloria in Excelsis (TTTB) Robert Cowper Tracings in the Snow in Central Park (SAT) and G major and related minors. Both Imitations (AA) Laurie G. Alberts Robert W. Butts parts require the instrument’s full range. In Memory of Andrew (ATB) David Goldstein Trios for Recorders (var.) George T. Bachmann Lay Your Shadow on the Sundials (TBgB) Triptych (AAT/B) Peter A. Ramsey All musical notations are in English. Terry Winter Owens Two Bach Trios (SAB) William Long, arr. However, the tempo markings are in Little Girl Skipping and Alouette et al (SATBCb) Two Brahms Lieder (SATB) Thomas E. Van Dahm, arr. Timothy R. Walsh Variations on “Drmes” (SATB) Martha Bishop German. Los Pastores (S/AAA/T + perc) Virginia N. Ebinger, arr. Vintage Burgundy (S/AS/ATT) You will enjoy the music in this volume New Rounds on Old Rhymes (4, var.) Erich Katz Jennifer W. Lehmann, arr. Other Quips (ATBB) Stephan Chandler as well as its attractive cover design and packaging. ARS Information Booklets: Margaret Peterson ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 Non-members: 1 booklet-$18, 2 booklets-$33, 3-$44, 4,$55, 5-$66, 6-$76, 7-$86 THE EAST IS RED AND LIUYANG Adding Percussion to Medieval and Improve Your Consort Skills (Susan Carduelis) Renaissance Music (Peggy Monroe) Music for Mixed Ensembles (Jennifer W. Lehmann) RIVER (TWO TRADITIONAL CHI- American Recorder Music (Constance Primus) Playing Music for the Dance (Louise Austin) NESE MELODIES), ARR. LANCE ECCLES. The Burgundian Court and Its Music Recorder Care (Scott Paterson) (Judith Whaley, coord.) Orpheus OMP 118, 2004. SATB. Sc 4 pp, pts 2 pp. Abt. $13 U.S. + P&H. (Down- Education Publications load available at
48 American Recorder “The East is Red” was the most popu- much about the individual songs, TWO SHORT RECORDER PIECES: lar patriotic song during that time, with information about the successive waves ENCORE V (HEXADVENTION) AND “Three Rules of Discipline and Eight of migration into Taiwan and about the KARUMI, BY RICHARD LEIGH HARRIS. Points for Attention” in the Four Revolu- place of each song within those migrations Peacock Press PJT 033 (Magnamusic), tionary Songs a close second. Although is included. 2004. A+opt. pno (1st work), S’o solo these two songs, plus “Army and People The cover states that these are “easy (2nd work). 5 pp. $5. Together,” sound martial, others—such arrangements.” This is reasonably true of These are two short (two pages each) as “Red Bloom the Mountain Lilies” and the first two pieces, “Tian Hei Hei” and and exciting works that fit rather nicely in “Embroidering Words of Gold”— “Tao-Hua,” but the other two are a bit the modern world of music. The first, are much more lyrical and flowing. more problematic. The soprano player Encore V (Hexadvention), makes particu- To create his arrangements, Eccles has must spend much of the time in the larly interesting use of the resonant capac- taken these pentatonic Chinese tunes and upper range of the instrument on ity of the piano: the recorder player plays arranged them with Western harmonies, a “Neujahrslied,” while interesting (but not into the open, undampened strings, caus- practice common in China itself starting necessarily easy) modern techniques are ing an interesting array of sympathetic in the 20th century. called for in “Ein Kinderlied.” Grace vibrations to come forth, centering mainly Because the songs are short, he has notes, finger vibrato, falling glissandos, on the six primary pitches in the work that used several devices to create longer and flutter-tonguing are expected. Since are part of the basis of its title. pieces. Examples of these devices are: put- only one of these playing techniques is Though the page may look at times ting the melody in a different part, creating featured in each part, working on the piece sparse (as if there is a great deal of silence more complex harmony parts on repeats becomes a very accessible way to first in it), the resonating piano fills many of of the melody, introducing more rhythmic experience such techniques. those gaps by linking the sonorities, and complexity, changing the texture by drop- When one conquers the techniques, by sustaining pitches from the recorder ping a part for one repeat of the tune, one can experience a representation of the that are rather brief, creating a unique har- creating canons, and temporarily chang- music of an ancient people of Taiwan. monic progression. ing the mode. With these techniques, he All of these pieces are appealing and The second work of the set, Karumi, successfully maintains interest through evocative of music from the area. whose title is a Japanese word roughly multiple variations. Judy Whaley translating to “lightness of being,” takes a He uses the same techniques to and the Kalamazoo Recorder Players slightly different and more “post-modern” arrange the tunes in Four Korean Folk- direction. In various ways, Karumi evokes songs, which includes “Arirang,” the most FLYING KITES, BY SASHA JOHNSON the music of the shakuhachi flute: the famous of all Korean folk songs. MANNING. Peacock Press PJT 028 unmetered opening and closing sections The Kalamazoo Recorder Players (Magnamusic), 2004. A pf. Sc 7 pp, pt 2 are very characteristic of its repertoire, found the arrangements in all three collec- pp. $4.75. as is the 7/16 time signature of the rest tions interesting, tuneful, and worth play- A largely self-taught composer, Sasha of the work. ing. Although the publisher designated Manning demonstrates great craft in this As he does in Encore V, Harris uses a these arrangements as “moderate” in diffi- relatively short work. Its return form, as rather limited palette of pitches—in the culty, there are rhythmic and high-range well as thematic unity overall, holds the beginning centering largely on B, B , A and issues with some of the pieces. Eccles’s work together as a whole, while its E. This pitch selection creates many ad- web site lists the Four Korean Folksongs as ever-changing modal/tonal areas and vantages for him, by playing with various being for the more advanced intermediate expressive writing keep the listeners and fourths, fifths and the tritone—and consort, which seems an apt description performers attached to the piece at an making the moment he deviates from for the other two collections as well. emotional level. The harmonic language is these four pitches somewhat climactic. A few changes would have made these beautiful and free, disregarding many I highly recommend both of these arrangements even more useful. Although common practice “rules” while keeping pieces. Their brevity makes them extreme- one can find information about some of much consonance. ly useful, in that they are interesting, the songs on the Internet, it would have Technically, the piece poses few unique pieces that can fill gaps in a rela- been helpful if the publications had challenges. There are short, somewhat tively full concert program. Though at included facts about the sources and the awkward, passages that may throw off a times somewhat difficult, they are reward- historical context of the songs. Since these more inexperienced player when first ing works, and great pieces for a recorder are vocal pieces and words were not learning the piece, but overall it is a very player to use to develop an ear and the included, it would also have been helpful playable and free-flowing work. The piano technique required to tackle much of the if breath marks had been provided for part holds even fewer moments of music of modernism. phrasing. When I listened to two of the difficulty: I was able to play through it, Jacob Mashak is a composer, conductor pieces on the Internet, I found that my though imperfectly, at sight, and I am by and early musician from upstate New York. best guesses were not always good no means a pianist. His works have been performed by several enough. This work captures rather well the free regional orchestras, choirs, and chamber Philipp Tenta, a German artist and flights of an airborne kite with its rising ensembles, often under his baton. He holds teacher who lives part of the time in and falling rhapsodic passages. Moments a degree in composition from the Crane Taiwan, is the arranger of Tian Hei Hei and are reminiscent of Erik Satie, with per- School of Music, studying composition Other Pieces about Taiwanese Folks Songs, a formance instructions such as “freely, as with David Heinick, Paul Steinberg and collection of four songs from Taiwan. the kite comes down to rest.” Paul Siskind, and conducting and recorder Although the edition does not tell us too with Christopher Lanz.
September 2006 49 COMPACT DISC REVIEWS ______Shuffle play
The four discs reviewed in this column Welcome also is Keyla Orozco’s Mani provide an entertaining and substantive tour Borsch’s rightly playful Eléctrico. Her composition creates a of the repertory of the recorder from the 15th light-hearted perpetuum mobile from a century to the present. Each release stands on Cuban peanut vendor’s song. its own. For a refreshing listening experience, approach to these The humor and variety of sounds in all I recommend placing all four in a CD of the pieces on off-limits can serve as a changer and letting the CD player select the new works invites pleasurable introduction to genuinely sequence of tracks. You’ll enjoy over four new recorder works for many listeners. hours of music in which mainstream Baroque See
50 American Recorder Telemann recorder sonatas. It seems odd Ciaramella offers many delights in to describe any Telemann recorder music This is a model of shawm, bagpipe, trumpet and sackbut as “less well-known,” but given the playing as well. The recording provides prominence of the Sonata in F major, a good stereo image of the ensemble’s the Sonata in F minor may qualify as such. consort playing clean sound, and the CD booklet In the well-known sonatas, Coolen and includes excellent commentary by company bring vitality and musical Adam Gilbert, with both original texts sensitivity. The less over-played pieces and English translations. For more feel almost like new discoveries. for all to notice. information, take a look at All three performers play with great
WER ICH EYN FALCK: SACRED AND SECULAR MUSIC FROM RENAISSANCE GERMANY, CIARAMELLA INSTRUMENTAL AND VOCAL ENSEMBLE. Naxos 8.557627, 1 CD, Abt. $ 8.99, 65:34,
September 2006 51 MUSICA SONORA IN ARIZONA CONSIDER ADVERTISING IN On May 20, vocal group Musica Sonora CLASSIFIED presented a concert of Spanish music at ______Grace St. Paul’s Episcopal Church in ______Tucson, AZ, entitled “El Bravo León: ______Music from the Spanish Reconquista.” Full page ...... $565 Directed by Christina Jarvis, the 17 2/3 page ...... $420 singers were accompanied by Barbara 1/2 page ...... $345 1/3 page ...... $270 Else, soprano recorder, and by vielle, 1/4 page ...... $210 guitar, two violins, a ’cello, percussion Where the haves 1/6 page ...... $165 1/8 page ...... $120 and harpsichord. The music ranged from and have-nots 1/12 page...... $ 90 Alfonso X “el Sabio” of the 13th century of the recorder world 1 column inch ...... $ 55 to an 18th-century anonymous mass can find each other Prices include web site/e-mail link directly from from Spain, to music found in recent your ad in AR On-line,
52 American Recorder