THE AMERICAN RECORDER SOCIETY 114 East 85Th Street, New York 28, N

Home , Grace note, October (Whitacre), Slide (musical ornament), Tonguing

THE AMERICAN RECORDER SOCIETY 114 East 85th Street, New York 28, N. Y. Founded in 1939 by Suzanne Bloch

OFFICERS LaNOUE DAVENPORT, President I A.C. GLASSGOLO, Vice President I DONNA HILL, Secretary! YRSA DAMMANN GEIST, Asst. Secretary I MARVIN ROSENBERG, Treasurer I RALPH TAYLOR, Asst. Treasurer

MARTHA BIXLER, Editor 359 East 68th Street No. 38 New York 21, N.Y. October 1959

Continuing the articles on Technique by A. Rowland Jones, the following is the tenth in +he series, reprinted with permission from The Recorder News of England.

ORNAMENTATION

It is not infrequent for the question ''how?" both the why and how of ornamentation, and to beg the question "why?". Ornamentation it is the purpose of this article to in- is a case. This series of articles on re- dicate those beginnings so that a player corder technique must therefore digress knows and can execute confidently a small into the more complex and fundamental and basically correct group of ornaments subject of musical interpretation. Much which he can (and should) modify as he of the best music written specifically for gains experience. The first essential in the recorder belongs to an age which orna- learning to ornament is to listen to as mentation was an integral and essential much sixteenth, seventeenth and eighteenth part of music and it was an accepted con- century music as time and opportunity al- vention that certain patterns of short lows--not just recorder music, but music notes should be written as one note, with for all instruments and voices. Even if or without an ornament sign above it, for it is impossible to undergo full-scale decoration was so stereotyped that the con- orientation by attending the Haslemere text of a note was sufficient to instruct Festival or other live concerts of old the player to execute a trill, shake, mor- music wireless programmes can always be dent, etc., or an extended improvisation listened to: performances by the London in the Carelli manner, as the occasion Harpsichord Ensemble, the Stuttgart Chamber might demand. A recorder player who wants Orchestra, the Deller Consort, the Schola to do justice to the music he plays must Polyphonica Basiliensis or the Italian '.eep himself in the tradition belonging players I Musici are object-lessons in the J its period, its style and its country style of old music. Knowledge of the social of origin. conditions of different periods and their attitudes to the arts generally leads to a The complexity of the subject should not, yet greater understanding of music. You however, terrify the player into disregard- will play a Handel sonata better if you ing it. There is a way to begin learning come to it after browsing in the "Spectator". -2-

If you know what an ornament should sound close attention; the variety they lend to like you will be in a better position to a repeated section of music, played first accept the guidance provided by editors of only with cadential trills and such shakes music. Some editions (notably American and mordents as are essential to the phras- ones) follow the admirable practice of ing, is particularly delightful. Rapid writing out in ful.l on a small stave over trills and flourishes have the effect of an ornamented note the actual notes of the making music more exciting. This quality ornamentation (e.g. Peter's edition of Tele- is both an advantage and a danger. It is mann solo and trio sonatas), while others good to be able to compel the attention (e.g. Universal, and Boosey and Hawkes' of one's audience, but sheer pyrotechnics, recent Couperin arrangements by Stanley which often sound much harder to execute Taylor) put written-out ornamentations as tnan they are, can make nonsense of music. footnotes. One American edition (Music The criterion to adopt is, "can each orna- Press) prints a Couperin suite with written- ment be justified musically?" If there is out ornaments in the text but the result no good reason to ornament, don't. Another is rather black, and both obscures the general rule is "never let ornamentation melodic line of the music and makes it obscure the melodic line"; if the tune is hard for the player to adopt his own in- not hum-able immediately after it has been dividual interpretation (within the rules). played, it has been over-ornamented. Un- The same is true of the "grace-note" type less the style demands it, which is not of ornamentation guide used in many of Mr. often, ornaments should be played without Dolmetsch's editions. The most scholarly accent, for they are accents in themselves. approach is to quote when possible from It is painful to hear ornaments thrust at the composer's own writings on ornamenta- one in the manner of Jack Horner's plum, tions, as Mr. Lefkovitch does in Schott's or to have trills forced out up to the publication of Hotteterre's "llio and recorder's breaking point. In consort Rondeau". In the early stages of learning music in particular ornamentation should follow the editor's guidance: later on, be, above all things, discreet. when you have more experience let your own good taste be your guide. To turn to the ornaments themselves, the most common ones are the shake, the mor- It is not easy to lay down general rul.es dent, the appoggiatura, the trill, the as to when and when not to ornament, as so turn, the slide, the flourish and the much depends on the style of the piece. acciaccatura. Eighteenth-century French music, which is often not particularly melodious, depends The shake is a rapid movement from the for its effect on its being performed with note above the one that is written down to "taste and propriety", in other words, the written note, up again and then down with appropriate ornamentation, and there- again for the remainder of the length of fore demands more frequent and prominent the note. In words it goes "D=e-er-ee-er. ornamenting than a piece in the Italian . . . " : the ''dee" comes on the beat, never style in which ornaments are less frequent before it. There should be a slight ac- and more subservient to melody. The effect cent on the "dee" (a discord) but normal of ornamenting a note is to draw attention breath-pressure should be resumed immed- to it: it has the same result as a dynamic iately afterwards otherwise the shake will accent or as vibrato (which is a sort of sound forced. The sign for a shake is a ornament). It should therefore be related short squiggly horizontal line over the to phrasing, decoration being accorded only note. The sign for a mordent is the same to those notes in a phrase which need stres- with a vertical line drawn through it, and sing. A secondary effect of an ornament, the ornament simply consists of a rapid particularly one ending with a turn, is to drop to the note below and back again to give music a forward impetus; this is the written note. It is a more arresting partly because part of every ornament is a ornament than the shake and should not be discord and the ear anticipates its resolu- "pushed" in any way, although the effect tion. The leading note of a cadence is of bite can be emphasized by making a tiny generally improved by decoration, and ex- pause before playing the ornament. The cept in fast pieces its decoration at the "note above" and the "note below" refer final cadence of a whole section of music to those in the diatonic scale of the piece, is obligatory. Embellishments, to quote unless the composer has indicated other- C.P.E. Bach, make music pleasing and awaken wise by writing a small accidental above -3-

the decoration sign, or unless the note :feel yourself beginning trills early, cure is governed by an accidental elsewhere in it by deliberately starting the trill after the bar. the beat. The trill should be thought o:f as an extended shake (Dee-er-ee-er-Ee-er The appoggiatura is a device :for writing ••• ),with a slight stress on the :first a discord in that musical shorthand known note, a slighter on the :fifth, even less as :figured bass . The accompanist in a on the ninth, and none thereafter, as the solo sonata is given only the treble note pattern is lost sight o:f in the gradual and the bass note with a :figure below in- acceleration o:f a long trill. In normal dicating the chord: to write the notes B, short trills the player should be aware o:f C over a C minor chord, the bass :funda- the number o:f notes he is playing, e.g., mental C and the treble melody note C 6, .8 or 10, and the trill should remain would have to appear to indicate the main even. It is important that the predomin- chord, and the discordant B has therefore ance o:f the upper auxiliary in the early to be shown in small print in :front o:f the part o:f a trill should not be lost by be- C. Whatever note is used in the small ginning the trill a demisemiquaver too soon print notation, an appoggiatura is gener- after its appoggiatura -- in other words ally equivalent in value to half the note when the appoggiatura is present (as it is that :follows in common or duple time, and generally) the trill itself begins just two-thirds in triple or dotted measures. after the second beat, not on it. In an As it is a discord it should always be upward succession o:f trills the lower note slightly accented, and then slurred on co is sounded :first (as a semi-quaver) and the :following note. each trill is turned. This gives the effect o:f beginning the trill on the lower The appoggiatura is not to modern ears an note (Der-ee-er-ee-er-or-er); this pattern ornament at all, and it would not have may also be used :for a trill on a note been mentioned here were it not :for its :following a wide or otherwise dramatic in- close association with the trill. A trill terval, when to play the upper auxiliary 1ign ( tr. ) often indicates that an appog- :first would damage the effect. Long trills giatura must also be played, even i:f it is or trills on the opening note o:f a phrase not written, except o:f course i:f the pre- may be begun on the note below the note ceding note is the same as the appoggia- written (Or-er-ee-er-ee-er .•• er). J.S. tura would have been. In :faster music, Bach liked this decoration: he had a however, the appoggiatura is shortened, special sign :for it and occasionally wrote and in very :fast music there is time only it out in :full. :for the trill itself, although even in :fast music some hint o:f an appoggiatura Trills are o:f two kinds -- those that end should be given at :final cadences. with a turn (example l below) and those that come to rest on the main note, then The trill itself should always be :fast but pause :for a :fraction o:f a second an :finally neat, and the speed o:f all trills in one give out one last short note that ushers piece (or movement) should be the same. in the next beat, as in example 2 below. Although there is no such thing as a slow trill, trills in slower movements should be more leisurely and contemplative than the extrovert trills o:f :fast movements. Long trills become very slightly :faster as they proceed (even though an editorial writing-out may show equal demisemiquavers), but the trilling :finger must never get out o:f control and run away with itself--in- deed the speed o:f trills in a piece is to some extent conditioned by the speed at which the player can manage the most di:f- _icult trill in it.

Trills nearly always begin on the upper Example 2 shows a trill at a :final cadence: accessory, i.e., the note above the one passing trills are without appoggiaturas, that is written, and should always begin and are usually turned as in example l, a on, and never before, the beat. If' you short passing trill. It is quite impossible -4- to legislate for turns at the end of trills, E and two fingers below that (and a slight but the following statements are more true drop in breath-pressure) for an alternative than untrue: (1) Passing trills (i.e., D turn. The A' trill needs an alternative trills not at cadences) are turned when G' turn and the thumbed one-and-a-half- there is time; (2) Trills on off-beats below G' should be suitable. The other (i.e., the 2nd or 4th beat of a four-four main G' alternative (all on except thumb) bar) are turned; (3) Trills resolving up- is used for the G' trill with A', its upper wards are turned: those resolving down- auxiliary, also being an alternative - (- wards are not (see examples); (4) Long 123 4-67, thumbed to start the trill) but trills are turned; (5) Most trills are for the note preceding the turn, the sixth turned. The turn should be taken at the in.the sequence, an ordinary G' must be speed of the trill, except in passages of used. This needs careful practising, but recitative or at the end of a cadenza where is something that must be mastered as the it may be part of a rallentando. A trill G' trill is both frequent and hard to con- on the final note of a phrase has no ap- trol, firstly because of the waywardness poggiatura and no turn: it should be short. of the third finger, and secondly because In modern music trills begin on the lower the tonal strength of the alternative G' note except in pieces written in the style tends to upset the pattern of the trill. or form of old music, e.g., Herbert A whole C major scale of trills has now been Murrill's sonata (OUP). worked out, and it should be practised at ever-increasing speeds, though always kept The turn itself in isolation consists of neat and even and strictly a tempo (a four equal notes beginning on the one dia- metronome is a good master for this). The tonically above that written. The slide same exercise should now be carried out begins on the beat and usually consists of witn fast six-note turned trills, and with two or more semiquavers (written small) longer trills of up to 16 notes. Speed is played rapidly to bridge an interval, often essential. a sixth. When the C major trill scale is mastered, The flourish is an extended slide moving up start at the beginning again with the A and down (above and below the note being flat major scale. Certain trills in this decorated) within the diatonic notes of its scale cause new difficulties. The B flat chord; the turning points should be on to A flat trill itself needs an alternative notes belonging to that chord. It often B flat (0 123 4-b7) to start it but as the takes the place of an appoggiatura in the trill with 5 and7 is awkward, 7 may be final cadence of a piece and leads on to abandoned, causing the trill to be slightly the cadential trill. Slides and flourishes sharp. This may be effective as the sharp are particularly effective in Sicilianas trill has an acidity of tone that helps it and other movements in triple or dotted to stand out, for like most low notes of time. the recorder it lacks brightness of tone, and the possibility of increasing volume is The acciaccatura is the modern grace note limited because of the low breaking-point and should be shown as a small note with a of the forked fingering. If the context diagonal line through it. It is played as demands the trill to be accurate in intona- quickly as possible and slurred on to its tion the 5th finger can still produce the principal. It must not be confused with trill alone by staying low over its hole the appoggiatura especially in the context while it trills, i.e., shading the B flat of a quaver followed by two semi-quavers. of the trill. Similar conditions affect It is virtually unknown in old recorder the difficult B flat to A trill. Fingering music but players may meet it in arrange- problems arise literally at every turn, but ments of later eighteenth-century pieces. experiment and reference to the articles on alternative fingerings should solve them. Let us now consider how to execute these The general principles are: (1) Whenever ornaments. The best way to begin is with possible, find a way of trilling with one the turned trill. Practise slowly example finger; it is better to trill slightly out 1, first on the note D (i.e., E-D-E-D-E-D- of tune with one finger than to fluff a C-D E), then on F' with the alternative E trill with two; (2) If this is not possible turn. Next try it on C, and top B'. Now keep the trill to the fingers of one hand; trill on E with the normal alternative for (3) Use an alternative for a turn even if -5-

it is a poor quality note and requires a The Interpretation of Music (Hutchinson), drop in breath-pressure. Trills should and refer frequently to the two standard executed with a hammering action and, works on Arnold Dolmetsch's there is need to shade the trilling The Interpretation of the Music of the 17th hole, the trilling finger(s) should be and 18th Centuries (Novello), which is ar- lifted high between each blow: with light ranged under ornaments, and Dannreuther's fingering, trills tend to speed up and run Musical Ornamentation (Novello), arranged out of control. Although the trilling in chronological order of CQIIIpcsers. These finger is somewhat tensed in its hammering books may be supplemented by reference to movements, the other fingers should remain reprints of the writings of musical theorists, as relaxed as possible, all energy being especially Quantz's flute tutor, Couperin's concentrated, as it were, into the trilling Method, and the "Embellishments" section finger. If difficulty is found in moving of Carl Philipp Emanuel Bach's Essay on the the thumb quickly enough to trill, hold True Art of Playing Keyboard Instruments, the thumb stiff and shake the up well translated recently by w. J. Mitchell and down on to it with the right hand. (Cassell). There is a useful book For trills on half-holes (e.g. A toG on Bach's ornaments by W. Emery (Novello), sharp) swing the whole hand around so that and the sections on "Ornamentation" and the trilling finger remains in a comfort- "Ornaments" in Grove's Dictionary are ex- able position rather than bent up. cellent. The study of ornamentation is so vast and fascinating that one can be be- Once the turned trill is thoroughly mas- guiled into finding ornaments more interest- tered, other ornamentation is simple if it ing than the music they grace, but to fall is regarded as a part or as an extension into that trap is to commit a sin almost of the turned trill. The cadential trill as great as the gross negligence of omitting (example 2) requires closest concentration: ornaments altogether. the appoggiatura should only be on an al- fingering if the tone quality of ;e alternative is good, so a rapid change BOOK REVIEWS in fingering is often needed for the trill itself. Similarly, the end note of the F. F. Rigby -Playing the Recorders. trill (i.e., the written note) should be London: Faber & Faber, 1958. 84 pp. good and not a weak alternative, for it is $2.75. stressed and dwelt upon long enough for tone to be apparent. The final short note should always be very short and should be Books on the recorder are rare. In fa'Ct, played with the ''kh" of double-tonguing: prior to the publication of the present the pause for articulation before it should volume, the only book available to be longer or shorter according to the English-language readers was Stanley jerkiness or smoothness of the music. The Godman's translation of Hildemarie Peter's mordent needs, perhaps, an even more vig- The Recorder (Berlin: Robert Lienau, 1953, orous hammer-blow of the fingers than 1958). In German there is Dietz Degen's trills. Slides and flourishes are, in ef- fine Zur Geschichte der Blockfl5te in den fect, slurred scale passages and their germaniscnen :ol:ndern (Kassel: Barenreiter, practice will be discussed in my next 1939), but it is out-of-print and an article. English version seems unlikely at this time. Christopher Welch's scholarly Six Looking through this article, I feel ap- Lectures on the Recorder and other Flutes palled by its inadequacy. The Editor sug- in Relation to Literature (London: Oxford, gested originally that it might be called 19ll) is also long out-of-print and copies "Utility Decoration" and that phrase is a are extremely hard to find. Hence, it was reminder that what is written here is but with real pleasure that the reviewer first the barest furnishing of a player's tech- learned of Rigby's book. This eager antic- lUe. Once having mastered it he must ipation was increased by the knowledge -JVe on towards a closer understanding of that Anthony Baines, one of the world's music by studying well-edited publications, outstanding authorities on woodwinds, had particularly of French music, and by read- written a foreword. It is sad to have to ing. Every recorder player should be state that this book does not begin to familiar with Mr. Thurston Dart's book on live up to the publisher's blurb inside -6- the jacket. In fact, this reviewer "inverted mordent" was called a mordent in wonders why it was published at all. the 17th and 18th century, and what he de- scribes as a mordent is a modern usage not The title of the book suggests that it to be confused with baroque practice; in offers instruction in practical matters, fact, it didn't exist then. rather than being an historical study. This could be of real value if it attempted The careful reader will note that the to discuss points of advanced technique. normal fingering for D#/G# in the several There are many instruction books avail- charts throughout the book is incorrectly able which cover elementary and inter- given as: mediate levels, but none in English that goes beyond these stages. But this ob- 0 ... eeeo, instead of 0 o•• ...o. In ad- viously was not the author's intent. This dition, the fingering for high D# on the is simply one more tutor for the beginner - Iblmetsch bass is given as ¢ ••• oeo•, in- no better than most and worse than many. stead of ¢ eeo ooo•. There are also a few Moreover, it is over-priced - 12/6 in minor misprints in the otherwise well- England and $2.75 in the USA - and it printed examples: a "natural" sign for won't lie flat on a music rack since it the second note in bar 19 of Ex. 29 (p.52), is cloth-bound in book form. and two dots and a 16th note tail in "Greensleeves" (p. 56). Playing the Recorders is supposedly for the "unattended beginner". Yet we find Possibly the most disappointing feature of passing mention of double and triple this book is the brief chapter on "Music tonguing (p.26) only two sentences after Available" • We are told by the publisher the reader is informed: "lhe notes are on the dust jacket that the author "be- not produced by puffing each one with a lieves that the modern revival will not separate breath" l A few lines lower succeed unless the wealth of music that thumb "pinching" is discussed, and on the has been written for the recorder and the following page of text there is mention of capabilities of the instrument are redis- "shading" - all this before our by now covered. He therefore draws attention to confused "unattended beginner" has even the music written for the recorder by the learned to hold the instrument • A few great composers of the sixteenth, seven- pages later the reader is given this ac- teenth and early eighteenth centuries, as count of vibrato in recorder playing: "As well as mentioning music for the instru- with other instruments, vibrato can be ment written by modern composers." Unfortu- produced on the recorder, though its use nately, the listing simply includes some should not be overdone. A slight, quick of the more familiar items from dealers' variation in wind pressure will produce catalogues, and it is very sketchy and the desired effect • " One can approve of haphazard at that. A listing of recorder Mr. Rigby's enthusiasm, but his teaching literature, such as Girard has done for the is unsystematic in the extreme and super- flute in his Histoire et Richesses de la ficial as well. Flute (Paris, Librairie GrUnd, l953), remains a real need. The opening chapter of the book attempts to cover "The Recorder: some Historical For the beginner on the recorder, no lesson Landmarks", but is very sketchy. It might book can take the place of a good teacher. be mentioned that Arnold Iblmetsch began In addition, an instruction book that is his researches into old music and musical written clearly and arranged in a progres- instruments" in the l8&l•s, and not in sive, systematic fashion is essential. 1905, as stated by the author. The few This book does not begin to meet these re- "guiding principles" on ornamentation also quirements, and it cannot hope to compete call for some cormnent. Mr. Rigby writes: with methods already on the market • Further, "A mordent consists of a quick shake be- it offers nothing to the intermediate or tween the main note and the. note above; an advanced player. Why was it published? inverted mordent consists of a quick shake between the main note and the note below" IB.le S • Higbee (p. 64). This is contrary to most authorities. "What the author refers to as an -7- HENRY PURCELL: Essays on His Music Donington points out that there are instrumental movements by Purcell which for Edited by Imogene Holst (Oxford 18s) their full effect require a continuous light ripple of added ornaments. Anything heavy in the way of added notes or in With the strong revival of pre-18th manner of performance defeats its purpose. century music and the 30oth anniversary of "Whether written out by the composer or Purcell's birth, this group of essays is left to the performer the figuration interesting and useful. The essays are by should sound as if it had just been thought Imogene Holst, Peter Pears, Benjamin of, not thought out beforehand". Britten, Michael Tippett, Robert Donington and others. Melodic figuration is one kind of embel- lishment described by the old English Mr. Donington's essay, "Perfonning word "graces". There are also many spec- Purcell's Music Today" (with a section on ific ornaments such as the appoggiatura the dances of that time by Miss Holst) is and trill, which are sometimes optional, helpful to the recorder player as well as but at other times obligatory. Where the to the harpsichordist and singer. It em- text implies an ornament, the gap in the phasizes that the romantic character of melody and harmony resulting fran the Purcell's music and his style is mostly a omission of the ornament is a real mistake, matter of getting the details reasonably like playing the wrong note. This is es- authentic. pecially true of trills in most baroque cadences. In Purcell's time, any performer Because nowadays we are accustomed to hav- who left out cadential trills would not ing the notes all settled for us by the have been considered a musician. composer, we find it hard to realize the extent to which early performers were ex- Mr. Donington then takes up the matter of 'ected to add to them impromptu as they tempi and rhythm in Purcell's music and along, out of sheer spontaneity. discusses "dots and inequality, phrasing Modern musicians are not trained to "im- and articulation". With respect to phrase prove" and complete the composition in endings, he says that though they may be this impromptu fashion as they go along, recognized by the performer, they are and so the editor has to do it for them by seldom made audible to the listener; for writing it out. If the editorial work is that reason there should be a "short well done, and if the performer can keep silence of phrasing". the necessary freshness of feeling, the result can sound spontaneous without act- While many of us are aware of this kind ually being improvised. "It is the spirit of thing, it is good to be reminded again rather than the fact of improvisation of how much study is involved in the per- which is important". formance of early music.

However, no editor or performer has the Reba Paeff Mirsky final solution in working out a version, nor was there expected to be a final one, only a GOOD solution. Purcell wrote at a MUSIC REVIEWS time when the performer was expected to regulate his own accidentals where neces- From Carl Van Roy Co., Brooklyn, N. Y. : sary or desirable. The embellishments were left to the performer. In the 17th Melodies for Alto Recorder by Gertrud and 18th centuries the ornaments could Bamberger; Chorales for Christmas har. by take any appropriate form if they did not Bach, arr. for 4 recorders by Jonathan change the substance of the music. Grove.

< late as 1805 Dr. Burney wrote: "An We who are recorder teachers have waited 'rldagio in a song or solo is generally little a long time for the Bamberger book; now more than an outline left to the performer 1 s at last we have a teaching book for alto abilities to colour-- if it is not highly comparable to Johanna Kulbach 1 s IDNES FOR embellished the slow notes soon excite CHILDREN. MELODIES FOR ALTO is not a langour and disgust in the hearers". method; like Mrs. Kulbach 1 s ruNES it can -8- be used only by teachers who know the re- batch are the modern ones, the trio by corder and how to teach it. The book is Moore and the sextet by Baines. The Baines simply a collection of graded folk songs has a striking beginning with "block har- and rounds arranged for alto recorders, mony" in triads; then the texture thins in- starting with the first five tones and to contrapuntal writing with the triads re- progressing a little more quickly than the appearing antiphonally. It is rhythmically TUNES FOR CHILDREN. The melodies them- complex and pretty difficult in spots, but selves are familiar ones; some nice in- worth working out, and the instrumental clusions are Dona Nobis Pacem and The combination of three descants and three Coventry Carol. The book may be used for trebles is an interesting one. The Moore adult beginners as well as children. Suite --Prelude, Courante, Sarabande, Rondino and Fugue--has some lovely sections, No one can quarrel with J, s. Bach, and particularly in the Sarabande. It is not Jonathan Grove has selected some beautiful so difficult technically as the Baines, chorale harmonizations for this Christmas but like all contemporary pieces for re- volume. The bass player must be a good corder it. is full of unusual accidentals one, particularly for the settings of Vom like G-flat, B-sharp, A-sharp et al. The Himmel hoch and In Dulci Jubilo. only solution seems to be to go ahead and learn them! Both the Baines and the Moore From Schott: are provided with scores, which are a great help in studying them. Godfrey Finger Tempo di Menuetto, divis- ions for treble and keyboard, arr. Dinn, From Carl Has linger (U. S. agent, New . RMS 860; Nicholas Chedeville Suite "La England Music Center, Boston) Flotenuhrstucke Presidente' .. for descant and piano, arr. by Joseph Haydn for 3 melody instruments, Dolmetsch, RMS 820; Mozart Trio for de- arranged by Erwin Schaller. March, Minuet, scant, treble and tenor, arr:-Arthur Hart, Andante and Fugue • RMS 868, 870, 872; Beethoven Trio Opus 87 (originally for two oboes and'"Eiiglish horn) Here is another arrangement of the Haydn for d, tr, te, arr. Hunt, RMS 88o, 882, pieces for musical clockwork similar to the 884; Timothy Moore Suite in G for 3 re- Robert Mottingdorfer arrangement for ARS corders, d, tr, te, RMS 824; Francis Baines edition No. 7. Two of the four pieces-- Fantasia for 6 recorders, 3 d, 3 tr, RMS the March and the Fugue are very much the 822. same as the corresponding items in the Mottingdorfer edition, but to my mind the The Finger and Chedeville are both dis- Schaller arrangements are worth the price appointing, in that neither one is very of purchase for the Andante alone, which interesting musically; the Finger is per- is very beautiful. The soprano recorder haps more valuable as it is an addition to has all the fun--the others are just ac- the literature for soprano and keyboard, companiment. This melody seems just right which is still very small. The Mozart and for recorder; it is a very large exception Beethoven arrangements come in separate to the general rule that music from the "volumes" for each movement--thus the classic period usually just doesn't "go." succession of RMS numbers. Of the two ar- The only drawback to this edition is that rangements, the Beethoven is more reward- there is no score provided, only parts, so ing musically, I think, and also more dif- that the would-be conductor of a class ficult to play. But somehow Beethoven on playing this music must look at three parts the recorder still sounds ludicrous to me, at once--quite a trick. Otherwise I recom- even though this trio was originally for mend it wholeheartedly for class work as a wind instruments. I just cannot picture change from the usual Renaissance and early the master being pleased to hear his music Baroque styles. performed on our unassuming instruments. It is impossible to attain the dynamic Martha Bixler range Beethoven requires and any kind of crashing climax is completely out of the question.

By far the most interesting pieces in this -9- J .S. Bach, 22 Chorale Preludes from The (RMS 954) :f'or soprano, 2 altos, tenor and Little Organ llook. Schott's Recorder bass, and 2 sopranos, alto, tenor and bass. r\Bibliothek, RMS 942 (Trio), Bot$ 944, 946, 948, 950, 952 (Quartets), RMS 954 The arranging and publication of these (Quintet) • Arranged for recorders by magnificent pieces of music is a brilliant John Beckett. idea, brilliantly carried out. In the Schott format there are only two page turns, and these are at natural pauses in Recorder players rejoice! Here is, to the music, and are arranged so that certain coin a phrase, a veritable treasure trove, players have free hands. The typography brought your way by the indefatigable is spacious and legible, only getting a house of Schott. These seven volumes con- little crowded in one or two of the heavily tain enough music, and what music, to keep ornamented pieces, but on the whole up to the most fanatical addict happy for ses- a very high standard. sion after session. Schott's and Mr. John Beckett deserve our The Protestant chorale prelude is a com- heartiest thanks for bringing out this position based upon a chorale melody. It edition which should bring so much pleas- was the practise of the organists of the ure to so many people • time to play this chorale prelude during the service, immediately preceding the LaNoue Davenport singing of the chorale by the entire con- gregation.

The Harvard Dictionary of Music distin- guishes between the following types: THE RECORDER ON RECO.Rll3 Cantus firmus chorale: the chorale melody in long notes, usually in the bass; By Dale S. Higbee motet: each line of the chorale 'is treated in imitation thus resulting in Some months ago I recall reading an ar- a succession of "fugues"; Chorale fugue; ticle on Benny Goodman (in The New Yorker?), the first line or initial phrase of the in which it .mentioned his going out to chorale is treated as a fugue; Melody Long Island to visit his old friend, the chorale or Figured chorale : the chorale late Gustave Lange nus. Langenus, one of appears as a continuous melody in the the clarinet greats, had made a tape re- soprano, accompanied by contrapuntal parts cording of himself playing one part of the which usually proceed in definite figures; Bach inventions, and enjoyed playing duets Ornamented chorale: the chorale is used with himself in this way. Recorder-players in the soprano with elaborate and expres- owning tape recorders can do the same sive ornamentations; Chorale fantasia: a stunt; with the right equipment it would number of variations of the chorale melody. be possible even to play quartets with yourself • One commercial recording of Most of the chorale preludes in the Orgel- considerable interest includes a Concerto buchlein (Little Organ Book), and in these for five flutes by Boismortier, with all volumes, fit into the category of the five parts played by the same flutist! Melody or Figured Chorale. However, for the benefit of the soprano players there For most of us, however, this is impract- are three examples of the Ornamented ical - and fortunately unnecessary, since Chorale, which should keep their fingers Classic Editions has anticipated our need. and ears well occupied. At the outside, though, a caveat is in order. Only a slight change in the speed Volume I (RMS 942) is arranged for soprano, of a turntable will cause a discernible alto and bass; Volume II (RMS 944) for 2 difference in pitch. For this reason it 'jopranos, alto and tenor, or sopranino, is absolutely essential that the speed of '. oprano, alto and tenor; Volumes III, IV the turntable in one's record player be and V (RMS 946, 948, 950) for soprano, properly adjusted. This reviewer was alto, tenor and bass; Volume VI (RMS 952) startled to learn a few years ago that for 2 altos, tenor and bass; Volume VII many commercial LP's are above standard -10-

pitch; there have even been LP's released the reviewer has heard only MMO 201, but on which the pitch at the end of the it seems highly likely that the comments record was a half -tone higher than at the hold also for MMD 202. beginning! In short, a symphony in C major might end up in C# major. There is, MMD 201 -minus alto recorder; MMD 202 - of course, no excuse for this sort of in- minus-Boprano recorder competence, and fortunately the MUSIC MINUS ONE recorder disks are almost en- Music: Erich Katz -Recorder Playing: tirely free of it. A New and Comprehensive Method. New York: Clarke & Way, Inc. The problem remains regarding turntable 1951. (Now published by Carl speed. The writer has played flute for Van Roy Co.) about 20 years prior to learning the recorder, and same time back acquired a Performers: Erich Katz, soprano recorder, variable-speed turntable in order to be Dolmetsch, ebony with ivory able to play along occasionally with re- mouthpiece and rings; LaNoue cordings of flute concertos. This permits Davenport, alto recorder, making adjustments so that the turntable Dolmetsch, Rosewood; tenor re- will rotate more or less rapidly than the corder, Moeck, boxwood (on two customary 33 l/3 rpm (or 45 or 78 rpm), Bach trios at end) and thus allow exact tuning. Readers with variable-speed turntables can play This record is of outstanding pedagogic MUSIC MINUS ONE disks, and can also play value and it is a pleasure to recommend it. along with other recorder LP's. Those This statement is somewhat in the nature with a fixed-speed turntable will have of a testimonial, since the writer him- to experiment with pitches of LP's other self worked his way through it after taking than the MMO 1 s. up the recorder something over three years ago. The method by Erich Katz is probably Another point worth mentioning is the the best introduction to the recorder yet necessity of warming up the recorder published, and this LP follows it step by prior to starting the record, in order step, omitting only a few of the selections to facilitate pitch constancy. The re- because of lack of space on the record. corder will tend to get sharper as it In using it, the writer starred the pieces warms up; the LP record doesn't! Also in the book omitted on the record, in most readers will probably find it neces- order to know which ones to skip. As with sary to turn up the volume somewhat louder all MMD disks, tempos are indicated by a for playing with the record than in usual metronome beat before the start of each listening. With the more difficult music piece. especially, one may find it essential to listen more carefully to the other parts In re-listening to this LP, I am impressed than in ordinary playing because one has with its value played by itself. Before no visual cues to help out. In addition, one can produce fine tone, it is essential of course, there is no mutual give-and- to "hear" it in your head and thus know take, as in chamber music playing, be- what to aim for. Some readers may find cause the parts on the record are always this disk helpful in developing a better rigidly the same. concept of recorder tone quality.

It will be noted that some of the MUSIC It goes without saying that no printed MINUS ONE (MMJ) LP' s have more than one method can substitute for lessons with a version, i.e., some have soprano, alto, good teacher. For persons unable to or tenor recorder missing, and consequent- obtain personal instruction, however, ly there are three different LP's of the Katz's book in conjunction with this same music. This reviewer has not had an record is probably the next best thing. opportunity to hear all of the versions, ) but in each case the number of the re- MMJ 2001 - minus soprano recorder; MMD corder reviewed will be underlined. For 2002-:-minus alto or tenor recorder. example: "MMO 201 - minus alto recorder; MMJ 202 - minus soprano recorder. " Here -ll- Music: AMERICAN FOIK SONJS, arr. for Des Pres - Resurrexit; van Kerle - three recorders (voice & Pleni sunt coeli; Senf'l - Motet; guitar ad lib.) by IB.Noue Stahl - Master Hildebrant; Davenport. New York: Clarke Othmayer - Psalm; lasso - MJtet; & Way, Inc. (Now published by Anon. - Old Easter H;ymn; Sweelinck - Carl Van Roy Co.) Includes: Chanson; Rossi - Duet; Praetorius - Buttemilk Hill, Po' Boy, Red Courante, Bourree, Bransle; River Valley, The Riddle Song, Schultze - Scherzo; Scheidt - Careless Love, Over Yandro, Courante; Mat the son - Menuet • Old aztokey, The Colorado Trail, Casey Jones, The Foggy Foggy MMO 2005 - minus soprano recorder; MMJ Dew, Old Tare River, Down in 2006-=:-minus alto recorder the Valley, Wayfaring Stranger, Barb' ry Allen. Music: SECOND RECORDER llJET BOOK: DANCES FROM THE RENAISSANCE TO Perf'onners: Robert Dorough, Dolmetsch Alto, THE CLASSICS, arr. for C and F rosewood: IB.Noue Davenport, recorders by Erich Katz, New York: tenor recorder, Moeck, boxwood; Omega Music Edition, l955. In- Max Shames, guitar. cludes: de Medicis - Saltarello; Schein - Allemande; Praetorius - fuplications on other recordings: Seven Bransle Double, L'Espagnolette; of' these folks songs are Albert - Dance Song; H. Purcell - played by the Manhattan Re- Jig; Lully - Hornpipe; Bach - corder Consort on CLASSIC Polonaise; Handel - Passepied; EDITIONS lo43, reviewed in Pergolesi - Menuet; L. Mozart - the April, l959 issue of' the Polonaise, Bouree; Haydn - Menuet. NEWSLETI'ER. Performer: Erich Katz, alto recorder, review copy of' this disk is with Herwiga Rex, rosewood, German 'soprano recorder missing, and this is fingering; soprano recorder (on probably the best one to get, since it 20o4, and 2006), Dolmetsch, ebony carries the melody in ll of' the l4 selections. The second part has the melody in These two records may be reviewed together, only one piece, while the third part since they are much alike. The recording (MMJ 2002) has it in two; in general, itself' is below par, and the playing these two lower voices are assigned ac- sounds rather breathy and uneven. Of' some companiment to the solo. A guitar is in- interest is the tone quality of' the Herwiga cluded on this record, and it lends a Rex instrument, which is quite mellow, al- richness to the sound that is very pleas- though wavery at times. One might hazard ant. The arrangements of' the music are a guess that these records were not made effective and the playing is relaxed. under the most ideal recording conditions. This disk is fun to play with, and one In addition, on 2005 the listener is in might recommend it for a mild shock: on the final two selections the pitch is higher and the sound is (200l) to friends who enjoy singing folk that of' a Dolmetsch alto, apparently played songs, since the words are included in by IB.venport! My guess is that these the music. There is no tuning note at pieces were spliced onto the original tape the beginning of' the disk. and the speeds of the tape recorders were slightly different. Again, there is no MMO 2003 - minus soprano recorder; MMO separate band with a tuning note at the 20o4-:-minus alto recorder. beginning.

Music: FIRST RECORDER llJET BOOK : MMO 2007 - minus soprano; MMO 2008 - FIFTEEN PIECES FROM THE l6th minus alto recorder (or soprano-rn-Rossi); TO THE l8th CENI'URY, arr. for MMD 2009 - minus tenor recorder (or alto C and F recorders by Erich in Rossi). Katz. New York: Omega Music Edition, l953· Includes: -12-

Music: Salomone Rossi - Five "Sinf'onie Music: MOTETS AND ll.YMNS OF THE l6TH a Tre Voci ", arr. for three re- CENTURY, arr. for three recorders corders by Erich Katz, ARS ed. l. by Erich Katz. New York: Clarke FANTASIAS & RICERCARES OF THE & Way, Inc., l956. (Now published l6TH AND l7TH CEN'IURIES, arr. by Carl Van Roy Co.) Includes: for three recorders by Erich Des Pres - Ave Verum; Isaak - Katz, New York: Clarke & Way, Suesser Vater, Herre Gott; A. Inc. Includes : Des Pres - Gabrieli - Crucifixus; Palestrina - Fantasia; Anon. Flemish - Benedictus; Lasso - Christmas Motet; Fantasia; Willaert - Ricercare; Vento - Pater Noster; Victoria - Valderravano - Fantasia; Lupo - Veni Creator Spiritus; Gumpelzhaimer Fantasia; Bassano - Fantasia. - 0 Jesu Christ.

Performers: (2007) LaNoue Ie.venport, Performers: Davenport, soprano re- Alto recorder, Dolmetsch, corder, Dolmetsch, rosewood; Robert rosewood; Robert Dorouoh tenor Dorough, Dolmetsch Alto, Rosewood. recorder, Moeck,maple; (2008) Davenport, soprano, Dolmetsch, These disks are listed in catalogs as rosewood; (2009) Davenport, for soprano, alto and tenor, but in fact soprano, Dolmetsch, rosewood; they are equally and perhaps more suit-

Dorough1 alto recorder, rosewood. able for two sopranos and alto. As listed above, the lower part is played Duplications on other LP's: The Fantasias here on an alto. Performances and re- by Willaert and Bassano may also corded sound are quite satisfactory, and be heard on Classic Editions we have only one page turn to struggle lOl8, Recorder Music of Six with! Centuries, as played by The Recorder Consort of the Musicians' Workshop. On that CONCERT CAI..END\R LP the Willaert piece is played by alto, tenor and bass recorders. New York Pro Musica (Bernard Krainis, Performances here are very good and the recorder soloist) music first-rate. One may complain, however, about the edition of the Fantasias and Ricercares. Why do publishers persist October l8 92nd St. "Y" in printing music with impossible turns " 25 Cambridge, Mass. for performers?! In playing with others, " 27 Ithaca, N. Y. in three of these six pieces one has to " 29 Mt. Vernon, Iowa pause briefly for the page turns, and " 30 Shorewood, Wise. this is annoying enough since the musical November l Madison, Wise. line is broken up. In tootling along with " 2 Minneapolis, Minn. this record, one is left behind as Messrs. " 4 Morehead, Minn. Davenport and Katz go merrily on their way. " 6 Peoria, Ill. Presumbaly they are using two copies of " 7 Wheaton, Ill. the score to accomplish this feat, but " ll Ann Arbor, Mich. the purchaser of each disk is provided " l3 Carlisle, Pa. with only one copy of the music. Print- " l5 Endicott, N. Y. ing the music on a larger format would " l6 Buffalo, N. Y. have avoided this inconvenience. Again, " 20 Washington, D. C. no tuning note at the beginning. " 2l Washington Irving High School " 29 92nd St • "Y" MMD 20l0 - minus soprano recorder; MMD 20ll - minus alto (or soprano) Jan.6,7, 8 Berkeley, Calif. recorder; MMD 2012 - minus " 9 Angwin, Calif. tenor (or alto) recorder " lO Stanford, Calif. II 12 Eureka' Calif. " l4 Maryville' Calif. -13-

January 17 Beverley Hills, Calif. Antient Concerts will also present programs " 18 Ventura, Calif. on the last Friday of each month on WQED - ' " 19 San Luis Obispo, Calif. TV, and a series of 3 children 1 s concerts " 21 Van Nuys, Calif. at the YM & WHA, Pittsburgh, on November 2, " 22 San Fernando, Calif'. December 14 and March 7. " 23 Monrovia, Calif. " 24 Whittier, Calif . " 27,28,29 Tucson, Ariz. CHAPTER NEWS

February l Los Alamos, New Mexico Austin " 4 Waco, Texas

March 13 92nd St. "Y" The May meeting of the Austin chapter of " 19 Washington Irving High School the ARS was held at the home of Mr. and Mrs. Don W. Morgan. 18 players and 4 April 20 Newark, Del. guests were present. A directory of " 22 Huntington, W. va. charter members was handed out . 7 new " 24 Chicago, Ill. members were present. Program for the " 26 Cleveland, Ohio evening began with pieces by fufay, played " 27 St. Mary, Ind. by Neil Hendricks, Jo Alys Downs and Ibrcas " 28 South Bend, Ind. Morgan. 3 Elizabethan songs followed, played by Robert Hobson, Miss Downs, and May l Canton, N. Y. Miss Morgan. Wilson 1 s Wilde was then " 3 Burlington, Vt. presented, played on the lute by Don W. Morgan and 3 recorders, Mrs. Morgan, Dorcas Morgan, and Robert Hobson. Jervis Under- The Manhattan Consort (LaNoue Dwenport, wood, chapter director, then performed a n1.rector) A series of 4 concerts at sonata by Daniel Purcell, accompanied by Living Theatre, 530 Sixth Avenue. Mrs • Lloyd Farrar on the virginals. Mr. Underwood gave very interesting background October 26, Renaissance music for voices, notes on the piece and by request repeated viols, recorders, harpsichord a movement on a sopranino. Group playing followed under the direction of Mr. December 21, medieval carols, baroque Underwood and a special explanation of Christmas music, Josquin proper breathing was made. Christmas motet The July meeting of the Austin chapter was February l),music of Handel, Telemann, held in the Austin Presbyterian Theological Loeillet Seminary Chapel. 15 players, including 3 new members, and 7 guests attended. Pro- April 25, Brandenburg Concertos Nos. 2 gram for the evening began with an aria by and 4;Telemann,Suite, for Erlebach, sung by Mrs. Joe Gates, contralto, recorder and strings with recorder obligati played by Mrs. Morgan and Dick Underwood, viola da gamba Antient Concerts (Homer Wickline, Director: by Lloyd Farrar, accompanied by Willis Patty Grossman, recorder soloist) 202 Bodine on the organ. 3 pieces by Corelli Emerson Ave., Pittsburgh, Pa. A series and Handel followed, played by the of 6 concerts at Carnegie Lecture Hall, "Wednesday Group." Players were Dorcas Oakland. Morgan, Jo Alys Downs, Robert Hobson and accompanist George Bozeman. After hearing Oct. 24 Carl Dolmetsch and Joseph Saxby the organ, the group enjoyed an explanatory Nov. 16 Early music of Spain talk by its builder, Otto Hofmann, who Jan. 25 Music by Telemann demonstrated its different stops, and ex- ·o;o?,j>. 29 Suzanne Bloch plained what he had tried to accomplish in *'T. 4 Music of Graupner and J. F. Fasch building it. Third performance for the May 2 Medieval, Gothic, and early evening was a Bach aria sung by Mrs. John Renaissance Swaney, accompanied by Willis Bodine on -14- the organ, with Lloyd Farrar on gamba and example for everyone else present, since recorder obligato by Jervis Underwood. she is only seven years old. Group playing of Bach chorales followed under the direction of Jervis Underwood, Dowland's "Lachrimae Antiquae" was next chapter director. sung by Elise Frieman, mezzo-soprano, with a recorder consort composed of Marion The Austin chapter representative to the Cohen, soprano; Dr. Walter Frieman, alto; Executive Board Advisory Committee will Alma Stevens, tenor; Kristin Hunter, tenor; be Jervis Underwood. and Abraham Cohen, bass. The concert con- cluded with two original compositions for recorder by Marion Cohen, performed by Mrs. fun W. Morgan, Abraham Cohen and Dr. Samuel Eisenberg. Secretary The first was an air for two bass recorders; the second paired the two ex- tremes of the recorder family, sopranino and bass, with delightful effect and was Philadelphia dubbed "The Sparrow and the Elephant" by one member of the audience.

Members from many parts of this city and Following an intermission at which re- its suburbs met at Allen's Lane Art Center freshments were served, Bluma Goldberg for the June 12, 1959 social meeting of conducted the group playing of a Gavotte, the Philadelphia chapter of A.R.S. a Sarabande and several other Handel compositions from Kleine Musiken fur Block- The first part of the evening was devoted floten. Miss Goldberg was unanimously to a widely varied program of performances elected honorary representative of the prepared by members. Libby Levenson, Philadelphia chapter to report to the Deborah Levenson and Ethel Koslow opened parent organization in New York. the program with three selections from the collection of Elizabethan and Shakes- A recording recently aired on Philadelphia's pearean Music for the Recorder: "I Loathe jazz radio station, WHAT-FM, may mark a That I Did Love", "Dulcina", and "All in new trend to the use of recorders in a Garden Green". They were followed by modern jazz, which has already incorporated Ben Allison and Ed Abramson, whose appar- the C flute and many other classical in- ently effortless performance of the struments. Alto and tenor recorder are lengthy and difficult Van Brughe "Alto and included in the Jack Marshall Sextette, Tenor" met with considerable applause. which plays "Eighteenth Century Jazz" on Capitol Records. Next on the program was the Levittown Re- corder Consort, a group of young people who have brought an active interest in old Kristin Hunter, instruments and old music to their large Correspondent community of new homes in Northeast Philadelphia. David and Paulina Wilker, Joan and D:>nald Thompson, Bud and Lucy Grossman and Ed Gessell played several NEW YORK Italian Villanellas.

The audience of about fifty members next The first meeting of the season, conducted heard three Sixteenth Century Dances per- by LaNoue Davenport, was held at the New formed by recordists Marion Cohen, York College of Music on September 25th. Abraham Cohen, Ethel Koslow and Libby An important change in the format of the Levenson, with twentieth century percus- New York chapter meetings was the division sion an triangle, bells and tambourine by of the playing groups into two sections, Herbert Koslow and Debby Levenson. Debby's advanced and intermediate, meeting at dif- competence on the recorder, her musical ferent hours. Some played in both sec- versatility and her stage "presence" made tions and there were many listeners to her the star of the evening, and set an both. It was generally agreed that much -15-

more playiDg fun was had by all by re- It would be greatly appreciated if' lists serving the most difficult music (Bach could be sent before November 1st. Chorale Preludes, arr. Beckett, reviewed in this issue) for more advanced players • "Intermediates" played ARS Nos. 6 and From J. R. Miller, San Antonio, Texas: 24, Italian Villanell.as and Carnival Songs. Intermission performers were members of' the Manhattan Consort LaNoue Davenport, "I have two which you might Martha Bixler and Shelley Gruskin. wish to bring to the attention of' interested parties, as follows:

LE!I.'TERS ID THE EDIIDR 1) I wish music publishers, advertisers and reviewers would be more specific about individual selections of' music. That is, An "Index of' Present -day Makers of' where an opus number or source reference Historical Musical Instruments" is being as to collection, etc., is available, compiled for publication in the next this information should form part of' the issue of' the Galpin Society Journal (with title of' the piece. If' it is a transpo- supplements to follow in later issues) sition or arrangement of' a work for by Anthony Baines and Bruce Braswell with another instrument, I should like to know the assistance of' other members of' the the original key or instrument. I know Galpin Society. The Index will list the that same of' this information is usually name and full address of' makers of' his- incorporated into the printed score, but torical instruments along with brief' de- to those of' us away from large cities scriptions of' the instruments produced by where the selection of' music from a large them. All historical instruments except stock is possible, such information is large organs will be included: "Renais- essential for intelligent ordering by sance" wide-bore recorders, "Baroque" mail. I know that I for one cannot af- ·1 recorders, crumhorns, shawms, curtals, ford duplications in my music library, Baroque oboes and bassoons, cornetts, and it seems that every publisher has narrow-bore trombones, viols, rebecs, brought out one or more Telemann sonatas Medieval fiddles, Baroque violins, psalt- for alto and keyboard, identified simply eries, harps, lutes, harpsichords, port- as being in the keys of' C or F, and ative and positive organs, regals, etc. several publishers have editions of' Bach two- and three-part Inventions for re- The compilers of' the Index would be corders and I should like to know which pleased to receive lists of' makers of' ones are included -- #1 in C, #15 in B these instruments (with complete ad- minor, etc • Reviewers could be very dresses) from persons interested in the helpful in this matter. project. Especially welcome would be the names of' makers in the United States, France, Italy, Holland, and Scandinavia. 2) I have tried both here and abroad to Names of' smaller makers in any country obtain copies of' two LP recordings made would also be welcomed. Lists may be by Mr. Carl Dolmetsch. They were orig- sent either to: inally issued by English Decca, but brought out in this country by London Anthony Baines Records as LS-24 and LS-278, both 10" re- Hon. Editor, The Galpin Society Journal cords. I wondered if' there were many 36 Redclif'f'e Close other members of' the ARS who would be in- Old Brompton Road terested in having these records and London, S. w. 5, England. would be willing to write individually to London Records, who might be persuaded or to - to put these items back in circulation if' they thought there was even a mild de- Bruce Braswell mand for them." Apartment 710 206 St. George Street Toronto 5, Ontario, Canada. ------

-16-

From Elna Sherman, Boston: FOR SALE NOTICES

"Does anyone know of a good recorder .player who can continue the instruction of a 9-year-old boy in Norfolk, Va. Fehr Palisander Alto, better than average, who has just gone to live there from not greatly used. $40. Brookline? He has studied 2 years with me, has done exceptionally well, and Everett D. Glover, 3107 Milton Avenue, wants to continue ...... " J)l.llas 5, Texas • •

Write: Bound copy of Xerox prints of Alfred Mann's Columbia University M.A. Thesis, Elna Sherman 1950: "il:le Use of the Recorder in the 96 St. Paul Street Works of Bach and his Contemporaries". Brookline 46, Massachusetts. 62 pages, 6" x 8 l/4". $8.00 post-paid.

Write to:

Dale S. Higbee 412 South Ellis Street Salisbury, North Carolina

NOTICE: To Add to For Sale Notices:

Membership dues are now payable for the Dolmetsch soprano recorder, massara, $15 year 1959-60. Dues for members of the New York Chapter are now $5.00 (an in- Dolmetsch tenor recorder, rosewood, $25 crease we regret, but nonetheless necessary, of $1.00 from previous years). Kung sopranino recorder, $4. Couple membership for the New York Chapter remains at $6.00 and out of town Miss Grace Field membership $2.50. Please make check or 140 West 58th Street, New York 19, N. Y. money order payable to The American Recorder Society, Inc., and send to the Treasurer, Dolmetsch alto recorder, satinwood, 1957, Marvin Rosenberg very reasonable. 960 Ralph Avenue Brooklyn 36, New York Joel Newman, 840 West End Avenue, New York 25, New York. Please indicate whether you are an old or a new member of the Society.