march 2003 Published by the American Recorder Society, Vol. XLIV, No. 2 Vol. American Recorder Society, by the Published
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EDITOR’S NOTE ______Volume XLIV, Number2 March 2003
Getting away from it all assumes an even FEATURES more important function in times of polit- Johanna Kulbach ...... 6 ical uncertainty, when people seem to be From darkness, she emerged to guide others more on edge. It has become almost im- by Johanna Kulbach with Lisle Kulbach possible to find a place where there are no Touching Bass with cell phones, no persistent news coverage, 2003 Summer Recorder Workshops ...... 13 where e-mail doesn’t pursue you—where, 5 The annual summary of summer workshops, where you can after a certain number of days of an activi- improve your playing—not only on bass, but all recorders ty, you emerge, as if from a cocoon, to find A Merry Go ‘Round ...... 19 that time and life have been marching on. The ninth in a series of articles by composers and arrangers One of the positive attributes of music discussing how they write and arrange music for recorder, is in helping us all to find a place within by Richard Geisler ourselves where there is peace, even if on- ly fleeting. DEPARTMENTS From a more practical standpoint, part 6 Advertiser Index ...... 48 of this issue is devoted to helping you find Book Reviews ...... 24 a place to spend some of your well-earned summer vacation in the company of others Chapters & Consorts ...... 43 who love the recorder. At least for me, and Classified ...... 48 I suspect for many of you, a plan to get away from it all isn’t complete if it doesn’t Compact Disc Reviews ...... 45 include the pleasure of musical activities. Music Reviews...... 30 If you are mostly inclined to spend your 18 On the Cutting Edge...... 28 time playing under the expert guidance of others, head off to a workshop (page 13). If Opening Measures ...... 41 being an appreciative audience member President’s Message ...... 3 suits your fancy, choose from the many ON THE COVER: Response ...... 23 performances being offered during the Illustration Boston Early Music Festival (page 4), and by Tidings ...... 4 Jeff Jurich be sure to read the more complete sched- © 2003 Musica Pacifica’s Telemann CD wins award, Flanders Quartet ule that will be available in the May AR. celebrates 15 years, Newbery Medal book uses recorder in plot With fear of war looming, it’s both iron- ic and inspiring to read how music carried one individual through World War II and beyond (page 6). One always hopes for a GAIL NICKLESS, Editor happy ending in such stories, and this ac- Contributing Editors count does end happily—not only for Jo- FRANCES BLAKER, Beginners; JOHN BURKHALTER, Book Reviews hanna Kulbach, but for many others who CAROLYN PESKIN, Q & A; CONSTANCE M. PRIMUS, Music Reviews have music in their lives because of her. EUGENE REICHENTHAL, Education; THOMAS CIRTIN, Compact Disc Reviews A simple tune kept speaking to Richard TIMOTHY BROEGE, 20th-Century Performance; LISA SCHMIDT, Design Consultant Geisler, giving him the perfect way for his Advisory Board group to share music with young members Martha Bixler • Valerie Horst • David Lasocki of a French recorder orchestra (page 19). Bob Marvin • Howard Schott • Thomas Prescott • Catherine Turocy If bringing harmony to your ensemble Kenneth Wollitz in its everyday workings would help bring Copyright © 2003 American Recorder Society, Inc. more peace to your life, Frances Blaker has AR On-Line suggestions to help you “play well with Visit at
ALABAMA ILLINOIS Long Island: Margaret H. Brown Birmingham: Janice Williams Chicago: Kim Katulka (708-484-4578) (516-765-1867) (205-870-7443) West Suburban: Christopher Culp New York City: Michael Zumoff ARIZONA (630-690-7304) (212-662-2946) AMERICAN Rochester: Frank Amato Phoenix: Donald Harrington LOUISIANA (602-956-1344) (716-225-6808) RECORDER Tucson: Scott Mason (520-721-0846) Baton Rouge: John Waite Rockland: Lorraine Schiller (225-925-0502) ARKANSAS (845-429-8340) SOCIETY New Orleans: Chris Alderman Aeolus Konsort: Don Wold Westchester: Carol B. Leibman (504-862-0969) INC. 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6 American Recorder PRESIDENT’S ______MESSAGE ______Recorder and the Media
etween work and all my other thoughts about both the positive and nega- Welcome Spring B commitments, I don’t find I typically tive aspects of these occurrences of the and happy “Play-the- watch much television. I do always make recorder in the media. Recorder Month!” time for my favorite British comedies and First, the positive: it is an enormous Alan Karass the exciting New England weather fore- step forward that the recorder appears on casts, but that’s about it. During and after television in any context. The Intel ad sug- the holiday season, however, I have a bit gests a very positive scenario: a young, in- more time at home and occasionally find telligent girl intently and happily learning myself doing some channel surfing. Has to play to recorder with the computer as a anyone else noticed how the recorder is learning aid. Although a computer isn’t beginning to pop up in the media? As I necessarily the ideal teacher, the situation write this column in a bitterly-cold and portrayed is educational and beneficial. snowy January, with my mind beginning Second, the negative: it seems that there is to look forward to spring and Play-the- a preconceived notion about who plays the Recorder Month, I’ve started collecting recorder embedded in these scenarios. All instances where some unexpected compa- four instances cited above present the nies are using or have used the recorder in recorder within the context of a child’s life. their ads, and gathering e-mail correspon- We, the viewers, are thus led to believe that dence from friends who have noticed this the recorder is a child’s instrument. As same phenomenon. I’d like to share some ARS members we know this is not true, of these with you. but it is an attitude that I run into time and In December, QVC, one of the several time again when playing in public or talk- TV shopping channels, aired an ad which ing to people about my interests and ARS included a choir singing with a young girl involvement. Maybe we should also sug- playing an alto recorder. Intel, the comput- gest to Intel that in their next ad they show er microprocessor company, uses the a multigenerational recorder ensemble us- recorder in their ad featuring the song “It’s ing e-mail to set up a rehearsal? Alright.” A girl is playing an alto recorder Whether we like it or not, television and using her computer to take online and the internet are powerful communica- recorder lessons as part of her daily rou- tion tools. We can take advantage of their tine. This ad can be viewed online at power just like Intel and QVC do. On a lo-
March 2003 7 TIDINGS ______Telemann everywhere: Musica Pacifica CD wins award, Maute featured at Boston Early Music Festival; and a Flanders Quartet birthday Ensemble REBEL with Matthias Maute to be featured during Boston Early Music Festival The Boston Early Music Festival has an- markt in Hamburg, the leading opera Baroque period. The style inspired Han- nounced more events set for its summer house in Germany during the Baroque era. del, who was a violinist in the Gaensemarkt 2003 festival. The opera was well-received in its day, and Opera orchestra during his formative Of particular interest to recorderists is was revived by Reinhard Keiser in 1722, years, and is evident in Handel’s early op- the performance by internationally- but has not been performed since then. eras. acclaimed Baroque ensemble REBEL, fea- In addition to the BEMF performances, Maute will also be a recorder soloist on turing the German-born recorder and tra- Ariadne is tentatively set to tour in 2004 to the Ariadne Baroque Orchestra concert on verso virtuoso Matthias Maute. In its the Berlin State Opera House, the Utrecht Thursday, June 12, at 8 p.m., also in Jor- program, Telemann alla polacca, the en- Early Music Festival, and Vancouver Early dan Hall at NEC. He is set to perform an- semble offers concerti, suites and sonatas Music Festival. other Telemann work, the Double Concerto for recorder, traverso, strings and basso Festival artistic director Paul O’Dette for Flute and Recorder, with the 34-mem- continuo, all composed by Georg Philipp describes Ariadne as having “a harmonic ber period orchestra. The Baroque flute Telemann. language equaled perhaps only by Bach soloist playing with him was not con- The young composer’s fancy was capti- and Handel,...[with] masterfully crafted firmed at press time. vated by the “barbaric beauty” of the “Pol- chaconnes and passacaglias alternating be- Other offerings on the Ariadne orches- ish manner,” after having heard this music tween orchestra, soloists and vocal en- tra concert, entitled Lustiger Mischmasch: on countryside sojourns while a court mu- sembles worthy of Lully and Purcell.” German Baroque Orchestral Music, include sician to Count Erdmann II of Promnitz in Conradi, who had produced several of two additional works by Telemann: Suite Sorau. Telemann wrote, “One would hard- Lully’s operas at a previous post in Ans- for Two Trumpets, Timpani and Orchestra, ly believe what wonderful inspirations bach, introduced the French operatic style and an orchestral suite based on Eastern come to these pipers and fiddlers...an as- into Germany. The impact on musical dra- European folk music. Also on the program tute listener could snap up enough ideas ma was felt in Germany for the rest of the is a violin concerto by Pisendel, performed to last a lifetime...” This inspiration led to by concertmistress Ingrid Matthews, and Telemann’s adventurous forays into the C.P.E. Bach’s colorful Concerto for Fortepi- “mixed style.” ano and Harpsichord played by Kristian (The Telemann alla polacca CD by Bezuidenhout and Alexander Weimann. REBEL is available in the ARS CD Club; Soprano Dorothee Mields, bass-bari- see page 47 in this issue.) tone Sumner Thompson, and the Ariadne The performance by REBEL is set for chorus will also join the orchestra in the Sunday, June 15, at 12:30 p.m., at Jordan North American premiere of Gottfried Hall on the New England Conservatory Heinrich Stolzel’s cantata, Ich habe meinen (NEC) campus in Boston, MA. Other Koenig eingesetzt. Although inaccessible members of REBEL are ensemble direc- until recently, Stolzel’s music was consid- tors Jorg-Michael Schwarz and Karen ered by some 18th-century observers to be Marie Marmer, both playing violin and even more expressive than that of Bach. viola; John Moran, ‘cello, and Dongsok Among other Festival events, a Tenor- Shin, harpsichord. lieder program will feature members of the The theme of this year’s Boston Early Newberry Consort, Howard Crook and Music Festival & Exhibition is Germany: A Piffaro: The Renaissance Band. Melting Pot of French, Italian, Eastern Euro- A master class with Maute will also be pean and Regional Influences. Set for offered during the Festival. June 9-15, the Festival centerpiece is Recorderist Matthias Maute will be As Festival event information is Johann Georg Conradi’s 1691 opera, featured in two programs and a finalized, it will be available at Ariadne. Six fully-staged performances master class during the Boston Early
8 American Recorder FLANDERS RECORDER QUARTET TOUR Bits & Pieces CELEBRATES 15TH ANNIVERSARY To celebrate its 15th Composer Lou Harrison, one of the anniversary, the Flan- defining composers of contemporary mu- ders Recorder Quar- sic in America, died February 2 at age 85. tet is currently on a Among his output is Serenade for Three tour entitled Magic, al- Recorders, written for Henry and Sidney so the title of their lat- Cowell near Christmas 1943. est CD. Harrison’s notes to the seven-minute The group explains piece mention that, while he lived on the idea behind the Bleeker Street in New York City, NY, dur- CD as follows: “After ing the 1940s, he discovered that the more than a thousand composer Henry Cowell and his wife Sid- performances all over the world, it became obvious that some compositions generate ney lived nearby—and played recorder, as more ‘magic’ than others. We noticed the focused attention on the music and musi- he also did. “It was only natural, then, cians, and the enthusiastic and immediate applause or, sometimes, the long silence af- that I should make a piece for the three of ter the performance, revealing an entranced audience. The unforgettable musical mo- us to play, especially since with these ment as pure magic… that is what we would like to offer to our audiences in this ju- friends I could compose slightly outra- bilee program.” geous passages for our amusement and The program explores the possibilities of the recorder as well as the power of im- hear how such things might sound.” provisation—a Medieval saltarello invites improvisations, or a Spanish recercada by Later moving back to California, where Diego Ortiz leads to diminutions by the musicians, each of whom brings a specific mu- he had lived as a child, Harrison became sical background to the ensemble. As a contrast, melancholy, passion wrapped in dark labeled as a “West Coast” composer, de- colors, and inexhaustible counterpoint evoke the typical English atmosphere around scribing not only his geographical home the year 1600. Not surprisingly, the program also presents the showpiece of the FRQ for 49 years, but also the Pacific Rim in- recorder collection: a 7’10” double bass recorder, one of only four in the world. fluences in his music—from Asia (espe- Joining the recorderists of the FRQ for both the CD and tour are (left to right in cially Java), Japan and South America, photo): Chris Joris, percussion; Guy Penson, harpsichord; Philippe Malfeyt, lutes; Steve melded with European traditions. Dugardin, countertenor; with FRQ members Paul Van Loey, Joris Van Goethem, Han Tol and Bart Spanhove. continued on page 18 NEW MUSICA PACIFICA CD WINS 2003 CMA/WQXR AWARD Telemann Chamber Cantatas and Trio Sonatas, performed by Musica Pacifica, is one of six winners of this year’s Chamber Music America/WQXR Record Awards. The awards were presented at the 25th Anniversary Marathon Concert on January 18 at Sympho- ny Space in New York City, NY. Telemann Chamber Cantatas and Trio Sonatas (DOR-93239) is a selection of works composed during Telemann’s first 15 years in the employ of the City of Hamburg, an appointment he held from 1721 until his death in 1767. Vocalists Christine Brandes, so- prano, and Jennifer Lane, mezzo-soprano, join forces with Baroque ensemble Musica Pacifica to present a CD that boldly illustrates the scope and power of Telemann’s creative output as a composer of sacred music. Led by artistic co-directors Judith Linsenberg, recorders, and Elizabeth Blumen- stock, violin, Musica Pacifica has been performing, touring, and recording since 1990. Mining a rich vein of Baroque literature for mixed wind/string ensemble—recorder, oboe, violin, ‘cello/viola da gamba and harpsichord—the group performs the spirited chamber concerti of Vivaldi and Telemann, colorful dance suites from the courts and opera houses of France, and the more intimate solo, duo, and trio sonatas from Euro- pean countries as diverse as Scotland, Poland, Spain, and England. Reviews have described Musica Pacifica as “some of the finest baroque musicians in America” (American Record Guide) and “the crème de la crème” (Alte Musik Aktuell). The artists are members of Philharmonia Baroque Orchestra and American Bach Soloists, and also perform with many other established early music ensembles across the U.S. Musica Pacifica has released two other critically-acclaimed CDs on the Dorian Recordings® label: Alessandro Scarlatti: Concerti da Camera (DOR-93192), and Francesco Mancini: Concerti da Camera (DOR-93209). Along with the Telemann CD, the Scarlatti and Mancini CDs are available through the ARS CD Club (see page 47 in this issue). The Mancini CD was cited in 2001 as a “Noteworthy Disc” by the 11th Interna- tional Antonio Vivaldi Prize for Recordings. Founded in 1988 by Craig D. Dory and Brian M. Levine, and based in Troy, NY, Do- rian Recordings is among America’s largest independent classical labels. With over 360 titles, Dorian compact discs are distributed in more than 30 countries around the world. To view the complete Dorian Recordings catalog, visit
March 2003 9 JOHANNA KULBACH: From darkness, she emerged to guide others
was born outside Munich, Germany, on the Dalcroze Seminar in Berlin, which lat- IJanuary 1, 1912. We lived there until I er became part of the Hochschule für was nine years old, and then moved to Musik under Georg Schünemann. I re- Halle an der Salle, which is close to ceived a very progressive education with Leipzig. My father was a professor of art emphasis on improvisation at the piano, history at the University. My first music ear training, practical harmony and theo- lessons were on the piano, when I was 5, ry on the piano, as well as practice teach- with a lovely teacher who understood chil- ing which I began at age 18. dren, but she moved so I had to stop tak- I graduated and was permitted to give Many European immigrants, either ing lessons. After we moved to Halle, I be- private lessons. In Germany one had to fleeing from Nazi Germany or leaving gan lessons again, this time with a very have permission from the State to teach. in the aftermath of World War II, poor teacher. I cried after every lesson, Around 1930, a teacher at the Dalcroze brought with them to America their and so once again lessons stopped. Seminar introduced me to a group that musical talents. Such is true of At about age 12, I began to have les- played “old music.” This teacher later Johanna Kulbach, who arrived in the sons with Walter Bergmann, who was at married Manfred Ruetz, who wrote one of U.S. in 1949. She immediately began that time a lawyer. His love was really mu- the first very good method books for the to learn a new language so that she sic, his knowledge outstanding, and he recorder. (He was lost in Russia during could teach music, making a new understood how to make you hear and World War II.) home in the process and becoming one understand music. In my parents’ home The old music group consisted of bud- of the pioneers of the 20th-century there was much house music. Walter ding musicologists who tried to transcribe recorder revival in the U.S. During Bergmann often accompanied my mother old manuscripts. They wrote each part on the years when the ARS experienced on the piano when she sang the song liter- little snippets of paper, and then we tried remarkable growth in America, she ature, lieder, Bach arias from the cantatas. to play the individual lines together to see worked alongside Erich Katz, Other people came to play at our house, whether the lines of music worked. I was who had fled from Germany to opera duets, and piano-and-string trios, handed a tenor recorder and somebody the U.S. in 1943. quartets and quintets. Felix Wolfes, who showed me some fingerings. I remember later lived in New York and Boston, was a much discussion each time before we For many years, coach for lieder and opera and was well- started to play, about what was the first Johanna has been a gifted teacher known by his fellow musicians as a won- note for each line. We often had to trans- of children and adults, and has derful accompanist because of his beauti- pose our part. We also sang early Spanish published several books for recorder, ful “piano touch.” He also came to our music. We met at the house of a lady who including Tunes for Children house for these musical evenings. owned and played a harpsichord. (Carl Van Roy Co.), I met the recorder when I studied at The tenor recorder I played was made Tunes for Two (Magnamusic by Peter Harlan. Instead of a mouthpiece Editions), and, with Arthur Nitka, there were two holes in the cap through The Recorder Guide (Oak which you blew. I never saw another Publications). Although mostly retired recorder like it. I later got an alto recorder, and living in New York City, she which was in E, and a soprano in A. The E recorder was awkward. I’m not sure continues to teach “The Tuesday what key the tenor was in. Night Class” plus travel, read, attend Arnold Dolmetsch was the person who concerts and visit museums. “revived” the recorder, in England, fol- lowed by Manfred Ruetz and Wilhelm This article grew out of an interview Twittenhof in Germany, as well as Franz begun with Johanna some years ago, Giesbert in Austria. The recorder revival with Kenneth Wollitz asking her began with adults, and wasn’t taught to the questions. Her responses, children in particular until later, during significantly edited and enlarged in the Nazi period, when it was taught as a collaboration with Johanna's daughter children’s instrument. Lisle Kulbach, have been assembled Paul Hindemith and Curt Sachs were into a first-person account of her life, both at the Hochschule in Berlin during her music and her teaching. the years I attended the school. The revival of the oboes d’amore, violas da gamba, by Johanna Kulbach Johanna at a party held by her parents in Halle, 1926 and violas d’amore, which Hindemith with Lisle Kulbach played, was part of the chamber music
10 American Recorder scene. If one went to a class Hindemith enough to live on. My husband went into ran, he experimented. One had to com- business for himself, selling rare books by The early revival of the pose for whatever instruments were there mail order, but after a year or two, the recorder in Germany, that day in his class. Once in a while I lis- Nazis forbade him access to his own pro- tened in on Sachs’s classes; he wrote the fession. So neither of us were permitted to contrary to the way it famous book about instruments. enter into our own professions. developed in England I returned to Halle in 1932 and tried to In 1935 my husband and I moved to during roughly the same establish myself as a private music teacher. Frankfurt. I don’t think I taught during period, was not through Wilhelm Twittenhof and Reinhold Heiden that period. I don’t remember. It became gave recorder and music classes at the very difficult, and after that life became folk music, but through Volkshochschule in Halle, which was con- sheer survival. In 1938, through friends, the study of early music. nected to the University. I joined the we got jobs in Berlin and moved there. Be- recorder class, but my alto in E didn’t fit cause my husband was technically very the recorders that had been standardized talented as well, he worked in the field of to C and F instruments in the meantime. radio electronics. The Nazis exploited the All the recorders we used were made in radio in their drive toward the use of radar, Germany, and probably used German fin- but even while helping to develop radar, gering. Twittenhof published a lot and my husband was very anti-Nazi. He did composed also, so we played contempo- everything in his power to slow down the rary as well as Renaissance music, but production of the radar, one part of the mostly Renaissance. We didn’t play any war machine. Baroque music. I discovered the Baroque We stayed in Berlin during the war. Just much later. after the war ended, shortly before Christ- The early revival of the recorder in Ger- mas of ‘45, my husband and I moved to many, contrary to the way it developed in Weimar, which was in the Russian Zone. England during roughly the same period, We would have died in Berlin had we was not through folk music, but through stayed. Once the Russians began their oc- the study of early music. The recorder as a cupation, there was no food or heat in “folk” instrument came into being after Berlin. We moved to Weimar because my World War II as part of the husband was offered a job there. They Volksmusikschule. It became part of the were desperate for music teachers in curriculum of the university education for Weimar as well, so I was asked to teach in adults, in the same way as “adult educa- the public schools. I went to teach in a tion” is part of the education system in this boys’ school, 15 classes a week. The boys’ country. ages ranged from 10 to 12 years old and In 1933, the Nazi era had become there were 35 students in each class. I had more organized, and I was no longer al- a piano to help me, but the piano was very lowed to teach. My career was stopped al- far away from the children, so I didn’t re- most as soon as it had begun. I was not al- ally use it very much. I thought that I lowed to teach Aryan children because I would teach the boys to read music, but am mostly Jewish. I was counted by the gave that idea up quickly when I realized Nazis as a Jew, although strictly speaking, they didn’t even know any songs, so I in Jewish law, since one becomes Jewish taught only singing. They had lessons through one’s mother, I would be a twice a week. Each week I devoted one of Huegenot. In 1933, I married a German those lessons to teaching the boys songs who was Aryan, meaning in this case that with the texts. With German folk songs he was a Lutheran. I was still permitted to there is beautiful poetry. Because we sang teach Jewish children, but pretty soon, with my mother when I was a child, I knew there were not many left. a lot of folk music. In Halle, my husband owned a Univer- I used to play counter-melodies on my sity bookstore with a partner, but in 1933, recorder during the singing classes. One the authorities forced him out of the own- day a boy came to me and asked, “Can I ership, without giving back his money, learn this instrument?” I managed to find and my husband lost his rights to even en- a recorder, but there were no books or mu- ter the bookstore, as well as his source of sic paper. My husband had some paper on income. Walter Bergmann, who was still a which he made a staff using a ruler, and I lawyer at that time, eventually became our wrote everything out for that boy. Some- lawyer. He won the case so that my hus- how I found a method book that used the band’s associate had to pay my husband a German fingering for the note F. It was a monthly stipend, but it was a pittance, very tiny book with a nice collection of and although morally a boost, was not folk songs. Soon after that the other music
March 2003 11 teacher in the school asked me whether I At that time electricity was supplied vouched for each of us and paid the fare for could teach her daughter the recorder. only two hours a day, from 2-4 a.m. We us to come to the U.S. These were my first two students on the used candlelight the rest of the time. Even Both of my sisters were in New York recorder. I hadn’t studied recorder myself. matches were scarce. The winter of 1948 City, my youngest sister as well as my oth- I had just been shown a few fingerings by was terrible. It was very cold and always er sister Susan. Susan had come to the the musicologists in that group with dark. Berlin is very far to the north, as far U.S. through Sweden. Lisle and I first which I’d played before the war. north as Canada. In the winter it got dark stayed with my youngest sister, Regula. It seems that it was possible to acquire at three in the afternoon, and in the morn- She said to me, “Now you should do what recorders at that time, or somebody al- ing it didn’t become light again until 9 you really always wanted to do, which is to ways managed to get some recorders, I a.m. It’s very difficult to cook by candle- teach music.” don’t know how. At that time you couldn’t light: you can’t see what you are cooking. buy anything. Stores didn’t exist, and if I met a former fellow student on the Early Teaching in the U.S. you wanted to go somewhere, you had to street one day who told me about a For the first summer in America, we hike. Volksmusikschule for children. There I stayed near Princeton, NJ, with a wonder- After we’d been in Weimar a while, started a recorder class for children, in ful American family who already had four Wilhelm Twittenhof returned. He had which we had to play by candlelight. children. Lisle became the fifth child. That fought in the war, was captured and put in Everything was very primitive. It’s hard to lasted into the fall of 1950. I taught the a prison camp, and then came back. He imagine now. oldest child, who was eight or nine years owned a huge library of recorder music, a In the spring of 1948, our daughter old. The teaching went so well that the quarter of which he stored in our apart- Lisle was born. My husband died in a freak mother said, “You really have a knack for ment. There I discovered Baroque music, accident when she was nine months old. teaching children.” Most of my family had immigrated or es- We moved back to New York City, and caped to the U.S., and so we began our I met Gertie Bamberger through friends. I sat in the pitch-dark journey to the U.S. in February 1949. I She wanted to stop teaching on Friday af- kitchen, because there had to get a passport simply to get out of ternoons at the “92nd St. Y.” She had was no electricity, and Berlin. The passport had to be certified by promised her job to someone else, I the four occupying powers: England, thought, but one afternoon, as she was practiced. Whenever I France, the U.S., and Russia. Each office running from one job to the next, we met teach a Telemann sonata, was in a different district, an hour’s hike in on the street and talked about teaching. I see myself sitting there another direction. I was skin and bones She said, “Oh, you know so much more in the kitchen, bundled up from the effort of walking and gathering about teaching,” and I was hired to teach the papers. A month after my husband two lessons a week at the “92nd St. Y,” a in a blanket... died, we flew to Frankfurt in an airlift miserably-paid job. While the children plane. The suitcase was mostly full of dia- learned recorder, I learned English. Un- Handel and Telemann sonatas. I sat in the pers for Lisle, who by then was 10 months derstanding English, a new language, was pitch-dark kitchen, because there was no old. very tough. I watched some of the lessons electricity, and practiced. Whenever I My father, who had immigrated to the Gertie Bamberger taught and wrote down teach a Telemann sonata, I see myself sit- U.S. in 1938, was by a miracle teaching in some of the sentences she used. I discov- ting there in the kitchen, bundled up in a Berlin for a semester when Lisle was born, ered that with the word “put” you can say blanket...this was in 1946. In the pitch and then he was in Frankfurt when we ar- dark, I practiced the Telemann Sonata in F rived by plane. We went to the American by heart. Twittenhof and I played almost Consulate together to see whether I could every week; he would come to our apart- immigrate to America. There was a two-to- ment. We pooled our sugar rations and three-year waiting period from Germany made a sort of cake out of potatoes and at that time, but at the Consulate, just as played recorder by candlelight. That is we were about to leave, they realized that how we survived. if we went to Switzerland, the quota num- After two years of living in Weimar, we bers were lower and we would be able to moved back to Berlin because my hus- leave Europe sooner. With the help of my band learned that the occupying Russians mother, who was also in Europe at that would put great pressure on him to be- time, we made it to Switzerland, where come a member of the Communist Party, Lisle and I lived for a few months, surviv- which he thought was as bad as the Nazi ing and waiting until we could come to the Party. It was very difficult to move at that U.S. Altogether it took us 10 months from time. No one had permission to go any- the time we left Berlin to arrive in New where. We had to get permission for every- York at Christmas, 1949. thing we did—papers for food stamps, for At that time, in order to immigrate, one instance—and we had to get an apartment had to have a sponsor. I had a relative in in Berlin ahead of time in order to move. New York who was my grandmother’s Johanna’s passport photo, taken in We managed to get all our papers and to cousin. She had sponsored my whole fam- 1955 after her arrival in the U.S. She move back to Berlin, where we lived in ily, one by one, as they fled Europe. She wears a scarab carved by her brother- part of an apartment. in-law.
12 American Recorder almost anything. “You put your finger..., at 2 p.m., in the afternoon when everyone you put the recorder in your mouth, you else wanted to sleep—me too. put the note here.” It was very difficult. Af- The Chamber Music Week began in ter two hours I was exhausted. I had taken 1960 or 1961. Chamber Music Week real- English in school for three years, but the ly began with Philip Merrill and Eric Leber. language had vanished. Philip played recorder, and taught Eric The following year, in 1951, I started when they met in Brasstown, NC, at the teaching at the City and Country School, Brasstown Folk School. Philip taught and taught there for over 40 years. I was recorder at the Folk School. Old ladies one of a long line of teachers of recorder who learned very slowly were the primary there. In the 1930s, Margaret Bradford students in those days. Eric was a student Boni, the director of the music department from Antioch who for one semester was in at City and Country School, had gone to Brasstown tending the chickens. Philip England and brought back a recorder. Af- gave Eric a recorder one day, and the next ter that she was always looking for teach- day Eric could play it better than anyone ers to teach the recorder. In the mid- else. Eric was really a harpsichord player. 1930s, Margaret gave Wilhelm Koch, who The two of them conceived the germ of a became a recorder maker, the recorder she recorder week for Pinewoods. had brought from England, and asked him The first recorder week at Pinewoods to make some recorders so she could have was combined with folk music week, but Johanna sitting on the windowsill of her sister’s recorders at the school. Those were the they were really two simultaneous but sep- apartment in New York City, 1955 first recorders we used. After that we got arate camps. The folk musicians sat with plastic recorders by Mario Duschenes. their guitars and told love stories and then music, but not very much else. A violinist The Duschenes recorders had a little bit of sang short ballads. The story was so long, from that school and I played many Bach wood in the window of the blade of the and the song was so short: short song, obbligatos with singers I found, at the So- mouthpiece, and the rest was plastic. long story. The recorder people huddled ciety meetings, and then later on Lisle Then we got Küng recorders. We got many together and wanted to play together. The played with me. German recorders, by Adler. Since the in- folk musicians played separately. It was a I also taught at the Trapp Family Camp, vention of good plastic recorders, which total division. The following year the helping Maria (the daughter, not Mother came next, we have been very happy. The weeks were separated. Trapp who was also named Maria), teach plastic recorders are much more in tune, During the ‘50s there was no New York adults the recorder. The camp was 10 days and they agree with each other. We are Recorder Guild, only the American long in Stowe, VT, on the land where they very fortunate to have them. Recorder Society. Erich Katz was the cen- still live. During the 1940s, the Trapps had ter person. I and others held meetings. bought a farm with buildings already on it Teaching Adults: Pinewoods and People didn’t know very much about and a huge amount of land around the Trapp Family Camp recorder music or playing, and Baroque buildings, about 800 acres. In the first I began teaching adults in 1956 at music wasn’t played very much. LaNoue winter, the roof of the main house came Pinewoods Camp. I had been taken to one Davenport and Martha Bixler and Bernard down, so they had to rebuild their house. of the country dances on a weekend in Krainis held meetings as well. Whoever They rebuilt the house to look like an Aus- New Jersey, and saw the dancing. I loved held the meeting also performed because trian chalet. After a few years they fixed up the tunes, which I started playing by ear. people couldn’t hear the music anywhere and rented out the barracks left over from May Gadd heard me and said, “Oh, you else. the CCC, which were in the valley below must come to Pinewoods to teach.” So I In the early ‘50s I attended the Dal- their house. There had always been show- went to a dance week. We taught recorder croze School in New York for one year. ers in the buildings and divisions to make There I learned the English vocabulary for little rooms. These barracks they used for housing the people who came to their In a camphouse at camp, which was held for 10 years. Pinewoods Camp At that time the Trapps were still per- in about 1964: forming. The first time I went to see them (left to right) perform was one year before they went to Eric Leber, Australia and New Zealand. The following Arnold Grayson, year they held their last camp as well as Johanna, their final tour. They had been singing to- Martha Bixler, gether for 17 years. One son didn’t want to and John Kelsey tour any more. They all played recorder and made up a full consort. A priest who was sent to go with them to the U.S. when they left Aus- tria, Dr. Wasner, lived with the family. He was a wonderful musician who arranged all their material. He wrote the vocal arrangements to suit their individual vocal
March 2003 13 abilities as sic. The Gregorian chant was wonder- Henry St. Settlement School. I taught well as the ful. These priests had voices. They sat six- or seven-year-olds. Lisle was five. I instrumental at the edge of a field on long benches in brought her along to the Saturday parts for the cut grass surrounded by high uncut morning class because I didn’t have a harpsichord, grass and sang while Dr. Wasner direct- baby sitter, and pretty soon she joined which he ed them. It was very beautiful and in- the class, which was the perfect way to played, and spiring. The last session was again for start. A class situation, especially when viola da gam- the general public. I stayed the whole it is your own child, works much better ba, which summer. Dr. Wasner sang rounds with than a private lesson, particularly when one of the the people who attended the first and it’s on a joining-in instrument like the sons played. third weeks, as well as earlier music. recorder. I saw the movie, The Teaching Children Teaching Method with Children Sound of Mu- I taught in so many places, it’s real- I always kept classes to a maximum sic, again just ly unbelievable. The first place I taught of eight children, because when you recently and was at the “92nd St. Y.” I was there for have to listen to the children play was sur- 10 years and then stopped because alone, if the other children have to wait Johanna (left) and Mother Trapp, prised by all they paid very little. At the “Y,” I taught too long, it becomes boring for them in 1956, in front of the the inaccura- children, and at Pinewoods and at and you lose them. I preferred starting “Palestrina” barrack at the cies in it. Brasstown, taught adults. children at age eight, third grade. Trapp Family Camp in Stowe, VT Many things I began teaching at the City and I taught note-reading right away. I are just not Country School in 1951, at first pri- had the children name the note, write true, in particular the end. They vately after school. Later I taught as the note on the staff and play it on the weren’t chased by the Nazis, but in- part of the curriculum during school instrument, all together, right away. I stead walked, carrying their rucksacks, hours, all the eight-year-olds in groups introduced the staff by having them over the mountain heights, and then of seven at a time, the practice of which count the lines. I had them really look took a train to the border to escape to was eventually expanded to two years and decide whether there are five or Italy from Austria. The border to Italy of recorder for the eight- and nine-year- four lines. Some would cry out a num- from their home was very close. There olds. The lessons lasted one-half hour, ber without really looking, so I would was no chase, and no boyfriend who which was very difficult and intense. say, “Look, who’s right?” The first note was a Nazi. But many of the things in I started teaching at New Lincoln I taught was B, and then A. During the the movie were true. The family did School as well, where I taught genera- first lesson I gave them sheets of music sing in the competition in the end, and tions of little children; and then at paper and they had to write whole it was the mother Trapp who sang with Bank Street School for Children until notes, without the stems, so that they the children. She was the children’s the school moved uptown, and after would distinguish the B from the A stepmother. It is also true that she had they had moved uptown, at Village without looking to see which way the originally intended to be a nun, that Community School, which had stem went. I had them write whole she had not planned to marry. opened to serve the children who lived notes so that they would really know The family sang a lot of masses, in the Village. I taught at Village Com- where the note belongs. Schubert and earlier material, but not munity School for more than 21 years. I asked them to distinguish between so early as Lassus or Josquin. They For a short while I taught at the a “line“ note and a “space” note. Chil- could play pieces like the Hook Sonata, Trent School, a small school that exist- dren don’t know what a space is. When but that was about as early as they got. ed for only a few years. Yo Yo Ma went they wonder what a space is, I would There were three sessions to their to that school. He took two lessons in say, the note A touches the second and last workshop. The first was for the my class, but he was already such a ‘cel- third lines. I told them to start from the general public, the second for priests list by that time that he did not contin- bottom up, counting the lines. All who studied Gregorian chant with Dr. ue. He had very glowing eyes. His sister these elements had to be established. Wasner, and there they sang earlier mu- also took recorder lessons with me. I About holding the instrument, I taught at St. would begin by having them support Johanna Luke’s for two the bottom of the recorder with their and Lisle, years. right hand. I was very strict about their c.1955, During my use of the right hand because so many playing first years in this of the children don’t know whether with country, I went they are right-handed or left-handed, puppets out to Hastings- and having the left hand at the top of in Dobbs on-Hudson the recorder is a custom which I think Ferry, NY [north of New one should do. Some recorders don’t York City], to have a movable bottom joint, but some teach privately children have great trouble holding the once a week. In recorder that way. those early years I About the tongue, I would say, also taught at the “Blow into your hand and whisper ‘du’
14 American Recorder and feel the airstream, the puff of air.” school and hear the orchestra, or the band With some that experiment worked, and marching along playing “one-one-one- with some it didn’t work for a long time. one.” And I know they are working on the Some took their lips off the mouthpiece to rhythm that way, but it doesn’t move any- take in air for each new note, and some put where. It is so static. I tried to get the chil- the recorder too far into their mouth. dren to have the image of the song, then I I taught the note sequence Erich Katz would add to that the knowledge of the suggested, the notes you play with the left rhythm, so the music would be more flu- hand first—B, A, G, C, D, then the two E’s ent right away. (high and low). I taught the two E’s to- When I was teaching children in en- gether with an open thumb for the high E. sembles, at first we would play duets. I I taught them to crack the thumb hole might play the second voice depending on Johanna in 2001, following a performance when they learned the high G, which I how musical the children were, and how at a party by her group, “The Tuesday taught before the high F#. At that point I solid they were. I have played a Haydn di- Night Class” had them put the thumb nail in. When I vertimento, that Walter Bergmann edited, grew up we had to roll the thumb and not with the children. They loved that. It’s a use the nail, but using the nail to gauge the very rhythmic piece. I’ve also tried Mozart opening is more secure, you can feel it bet- trios, which are much harder, and a won- ter. derful piece by Robert Starer, a ricercare For rhythm I used the piano all the for two sopranos and one alto. He wrote it time, right away. I underlined everything for the Dalton School. It’s a marvelous, with chords and made up things while we solid, contemporary piece, but unfortu- played together. The music sounded good nately it’s out-of-print. right from the beginning that way. My idea Children have gone on to play the alto, is that it should sound like music right and I’ve had children who could play the away. We talked about rhythm and played tenor, but that has not happened very of- in time right away, but we didn’t count at ten. I had a student who played the bass at all. After a few lessons I talked about “one- age 10. count notes” and “two-count notes.” We Age makes a great difference in learn- counted the two-count notes as “one-two ing the recorder. Between seven and eight, one-two,” and the three-count notes as there is a great difference, usually in coor- “one-two-three.” I counted it out. I didn’t dination. Some seven-year-olds have the say 3/4 time, 4/4 time. It’s too confusing. coordination of an eight-year-old, but That came much later. We played eighth some are very slow. I preferred to start notes and I might say, “one-and-one-and, with eight-year-olds for that reason, be- one-and....” Or I used “ta-te” and “ta-te.” cause they are all closer to the same level. “Ta-te” is really much nicer. When I’ve had children in the same When we reached the song “Mary Had group who diverged in their skills, I’ve had a Little Lamb” for the first time, we were the musical ones play the second voice confronted with dotted eighths. The chil- and support others who were on the top dren all knew the rhythm, so we spoke it. line with the piano if it was necessary. I al- I would say, “Ma-a-a-ry had a little so used canons and rounds. Rounds show lamb”—“Ma-a-a,” which is much longer, who has rhythm and who can stick to his and “ry,” which is much faster—and then own line. I’d have a strong player play in we spoke it together. Then I would speak unison with a weak one to support the the notes in rhythm, “B-e-e A G.” weaker one. I do that with adults as well. The next song we would play with a dotted rhythm was “Alouette.” I used Johanna in 1957 or these two songs to teach the basics of dot- 1958, teaching at the ted rhythm. We spoke the note names of- City and Country ten, and we sang the song with the note School. The students names, so they would have an overall idea are Lisle’s classmates: of how it should sound. I often had the (left to right) children sing the rhythm before they Cara Gendel, played the piece. I introduced the idea by Janet Goldstein, saying, “We will say the words now and I and Diane Walbridge will play on the piano,” so they sang along. I didn’t use the word “sing.” It’s such a stumbling block, because then they think they will have to sing in tune. It depends a lot on whether there is a lot of singing in the school. I live across the street from a
March 2003 15 Teaching Material sic. That makes a great difference. When it He wrote the text for the method while I For beginning teaching material, I used came to Pinewoods, people came to play picked out the music, wrote all the my book, Tunes for Children. Unfortunate- recorder who had never read a note, and arrangements, and figured out the outline, ly, the other book I wrote, 139 Songs and we really had to get down to basics. Erich the order of pieces. My idea was that the Dances, which was originally put out by Katz’s book was used in those early years two recorders, altos and sopranos, should Amfor, is out-of-print, and so I used to Xe- at Pinewoods, but the arrangements for learn parallel things simultaneously, the rox out of it all the time. same fingerings and the same rhythms. When I began to teach, there were The book starts with very long, basic some nice books to use in the United The recorder continues to rhythms, not complicated ones. The idea States, but I missed having the texts with bring people together to was that if there was a whole note in one the music, and therefore didn’t know what play, and to listen. In our part, the other part would fill out that time the songs were about, and the children world of increased with quarter notes, so that the two could didn’t know either. That’s why I wrote really hear the four counts, three counts, Tunes for Children. I asked everybody what mechanization, it’s a and so on. I think most methods start out their favorite tunes were, what they sang wonderful small tool for well, but too soon plunge into complicat- with their children and discovered that forming community and ed rhythms. people don’t sing very much here in the It’s astonishing to me how the recorder U.S. I looked for material from many making music, simple and and early music have blossomed. The countries, which were musically more in- complex, together. Dutch people took it up and brought ideas teresting than the German tunes. That’s about the music and technique to a very why I wrote Tunes for Two, which is a col- soprano and alto were somehow stiff. high level. Recorder orchestras have also lection of a lot of lively dance tunes for They didn’t fall naturally into your ear and come into being here in the U.S., bringing which I wrote the second parts, because sounded really awful when people who with them new pieces, new sounds, and children like the lively pieces. had never played music played them. new audiences. The recorder continues to In those early days in the U.S., when I Therefore I started accumulating supple- bring people together to play, and to listen. taught with Maria at the Trapp Family mental material, which later became The In our world of increased mechanization, summer camp, most of the people who Recorder Guide. it’s a wonderful small tool for forming came to the camp had had music in their I wrote The Recorder Guide with Arthur community and making music, simple lives. They didn’t have to learn to read mu- Nitka of Terminal Music in New York City. and complex, together.
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16 American Recorder TEXAS TOOT, SUMMER EDITION (ARS) dance, faculty and student concerts. This year’s events include a concerto evening Concordia University, Austin, TX performed by participants and a work- Touching June 2-8 shop-wide final production, with vocal so- Director: Daniel Johnson los, chorus, orchestra, and dancing. Fea- Held on the compact, centrally located turing recorder faculty Frances Blaker and campus at Concordia, the Texas Toot Sum- Marion Verbruggen. Other faculty: Phebe Bass with mer 2003 explores the music of England Craig, Arthur Haas, harpsichord; Sand and The Lowlands. Courses of study in- Dalton, oboe; Anna Carol Dudley, Paul clude beginning, intermediate, and ad- Flight, voice; Angene Feves, historical vanced classes/masterclasses on recorder dance; Dennis Godburn, bassoon; Kath- (Saskia Coolen, Frances Blaker, Tom Zajac, leen Kraft, flute; Martha McGaughey, viola 2003 and more), reeds and brass such as da gamba; Michael Sand, violin; Marc Van- krumhorn, bagpipe, sackbut (Tom Zajac, scheeuwijck, ‘cello. Sara Funkhouser), viola da gamba (Martha Contact: Phebe Craig, SFEMS, PO Box Bishop, James Brown), violin (Laurie 10151, Berkeley, CA 94709; 510-540- Summer Young Stevens), harp and lute (Becky Bax- 7415;
March 2003 17 Classes range from consorts to Baroque keyboard players (a=440Hz). Some class- bles/consorts (minimum four players) ensembles, master classes to an introduc- es could include other instruments. Also, must apply before May 10. tory course for beginners. Staff includes faculty & student concerts. All at a family Other faculty: Louise Carslake, Renais- Larry Lipkis, Joan Kimball, Chris Rua, camp on a park-like 450 acre campus in sance flute; John Dornenburg, viol; Julie Sheila Beardslee, Eric Haas, Rosamund the White Mountains with non-partici- Jeffrey, viol; Daniel Johnson, voice; Jen- Morley, Gene Murrow, Dorothy Olsson, pants welcome. Faculty & performers: Ju- nifer Lane, voice; Robert Mealy, vielle, vio- Tricia van Oers, Robert Wiemken. lian Cole, Jane Hershey, Anne Legêne, lin; Herb Myers, Renaissance reeds, Contact: Steve Howe, Country Dance and Chris Rua, Larry Wallach. strings; Nigel North, lute; Hanneke van Song Society, PO Box 338, Haydenville, Contact: Christopher Greenleaf, PO Box Proosdij, harpsichord; Elisabeth Reed, vi- MA 01039-0338; 413-268-7426 x 3; 2280, Conway , NH 03818; 603-447- ol, cello; Dan Stillman, early reeds, sack- 413-268-7471(fax);
18 American Recorder Other early music special topics classes ture. The acoustically designed workshop sic Workshop offers the long-time favorites (to be announced). New to the schedule: studios, dining hall, and residences are of madrigal singing, consorts and ensem- Playing a Baroque Bass Line (for fully air-conditioned. bles, plus a few courses to expand your recorder/voice as well as viols), Preparing a The theme of this year’s workshop is Flora early music skills, a look at playing Irish Concert (selection of music/rehearsing). and Fauna: Images of nature in the music of jigs and reels, classes on improvising and Faculty: Marilyn Carlson, Martha Bixler, the Renaissance. divisions, and a Medieval Cantiga project. Stewart Carter, Judith Davidoff, Eric Haas, Start your day with a “Rhythmic Warm- Mary Johnson, Peter Ramsey, Kenneth Faculty include Tom Axworthy, Janet Beaz- up” and finish by playing in a Renaissance Wollitz. Addition faculty to be announced. ley, Ron Glass, Julie Jeffrey, Judith Linsen- “Big Band” — led by a Masters-degree- Air-conditioned dorm, classrooms and berg, Jim Maynard, Shirley Robbins, and holder in crumhorn (bring out your dining room. Join us for a quality, comfort- Grace Sheldon Williams. “buzzies”!). This workshop is for amateurs able week of early music learning with a Contact: Ron Glass, 4283 Moore St. #1, of all levels, for those who play and sing faculty that is always accessible. Los Angeles, CA 90066-5747; 800-358- for the love of music. We also welcome Contact: Marilyn Carlson, 1008 Afton 6567 (day); 310-574-3288( evening); school teachers who would like to develop Road, Columbus, OH 43221-1680; 310-574-6719 (fax); their musical skills. Other instrumental- 614-457-1403;
March 2003 19 Special Programs: Week 1—Virtuoso HESPERUS: SOUND CATCHER (ARS) OPPORTUNITIES TO START Recorder, Virtuoso Viol, Historic Brass; Hilltop House Hotel, Harpers Ferry, WV Week 2—Baroque Academy, Medieval EARLY OR TRAVEL FARTHER August 3-9 Program, Lutes, Flutes, and Baroque Why wait until summer arrives to start Directors: Scott Reiss, Tina Chancey Reeds. Tuition aid available. practicing? Spring has traditionally UConn at Storrs has a peaceful country SoundCatcher—Play early & traditional been a time when many chapters spon- Have you ever wanted to play setting, a beautiful 450-seat concert hall, a music by ear. sor short workshops (see the calendar in tunes without looking at the music? In helpful campus staff, and a variety of ac- this issue’s ARS Newsletter), but there this workshop you will learn how to play commodations within easy walking dis- are also long-weekend ones that are well Medieval, Renaissance, Appalachian & tance of the music school. Van service Irish styles by ear with HESPERUS: Scott worth the trip—plus summer study op- available from the Hartford airport and Reiss (recorder, Irish whistle), Tina portunities in other countries. train station, as well as bus service from Chancey (viol, fiddle), and Bruce Hutton Boston and New York directly to Storrs. (guitar, banjo). Learn these basic skills: Take a Hike! Contact: Marilyn Boenau, 50 Hovey St., recognizing modes, meter, and overall May 9-11 Headlands Workshop Watertown, MA 02472; 617-744-1324; form; identifying important pitches, repe- for Recorders and Viols, Marin Head- 617-744-1327 (fax); tition of melodic fragments, and intervals. lands Institute on the Pacific coast, near
20 American Recorder 2003 SUMMER RECORDER WORKSHOPS
COST: Includes tuition, room (single occupancy unless otherwise noted), meals, plus other fees. MUSICAL ACTIVITIES: F=faculty concert, S=student concert, L=lecture, SP=special production, P=organized informal playing, O=other E=estimated, T=tuition only, D=double occupancy, W=one week RECREATION: D=dancing, F=field trip, G=gym, S=swimming, T=tennis, W=waterfront/beach, O=other # FACULTY/RECORDER FACULTY: Number of faculty and recorder faculty within that number OTHERS WELCOME: S=non-playing spouses/friends, C=children # STUDENTS: Average over last two years DIRECT TRANSPORTATION: S=shuttle from airport, B=bus, C=cab, L=limo, PU=pick up, P=free parking, O=other NO. Of DAYS: Includes arrival and departure days TERMINALS: A=air, B=bus, T=train (number indicates miles from workshop to terminal) CLASS LEVELS: B=beginner, LI=low intermediate, HI=high intermediate, A=advanced, V=very advanced ROOMS: S=singles, D=doubles, C=cabins *Graduate dorms or local hotels/motels SPECIAL CLASSES: C=one-on-a-part consorts, MR=mixed Renaissance ensembles, MB=mixed Baroque ensemble, 20=20th century music, BATHS: S=shared, SP=semi-private, P=private INFORMATION SUPPLIED EN=early notation, M=master class, RO=recorder orchestra, P=private lessons available, T=technique, RP=recorder pedagogy, O=other FOOD: C=college style, F=family style, G=gourmet, V=vegetarian BY WORKSHOP DIRECTORS NON-RECORDER CLASSES: C=choral, W=other winds, P=percussion, K=keyboard, V=viols, PS=plucked strings, D=dance, T=theory, I=instrument building, O=other HANDICAP ACCESS: H=housing, C=classrooms, D=dining Mollenhauer, TIDINGS Bits & Pieces (cont.) Yamaha, Kung Serenade for Three Recorders is available made up of four women, and seeks to cre- Recorders from Provincetown Bookshop Editions. ate programs shedding light on the way
Move over, Harry Potter! The winner of women were treated in history, using old the 2003 Newbery Medal, awarded by the instruments but extending into contem- Competitive Association for Library Service to Chil- porary idioms. Prices dren, is Crispin: The Cross of Lead by The singers and instrumentalists of Avi (Hyperion)—in which the principal ARS et AMICI left February 12 for their character, a 13-year-old orphan, learns to seventh performance tour to Italy. play the recorder, performing with a jug- Recorder players on the trip included Quality instruments gler in villages and towns of 14th-century David Barnert, Margaret Brown, Diana sent on approval England. Digges, Diana Foster, George Mastellone, Set in a feudal society, the serf child Richard Shrager, and group director Sheila who only knows himself as “Asta’s son” is Beardslee Bosworth. suddenly or- In preparation for the 12-day trip, Personalized phaned and ARS et AMICI offered a “Buon Viaggio” service/advice homeless. Af- concert including a costumed and staged ter her burial, production of Hildegard von Bingen’s dra- Crispin ma, Ordo Virtutum, under the direction of (which he lat- Medieval music specialist Cristi Catt. Al- Bill Lazar er discovers to so on the program was sacred and secular [email protected] m be his name) is music heard in Italy in the years 1500- (408) 737-8228 pursued by 1540. http://www.bill-lazar.com men who seek Four accomplished young musicians to kill him for of the Young Hedgehogs Recorder En- reasons he semble offered a February program of does not un- music from Baroque sonatas and Renais- derstand. Fur- sance works to Irish, jazz and contempo- ther adding to the mystery is the realiza- rary pieces. The four students of Boul- tion that he does not know why his moth- der/Denver, CO, performer and teacher er was an outcast, nor how she learned to Linda Lunbeck are Jakob Seelig (age 11), read and write. Rescued by the juggler Anna Brumbaugh (13), Fiona Foster (16) Bear, who teaches him to sing and play the and Chris Avery (16). They were joined by recorder, Crispin eludes his pursuers and harpsichordist Rick Thomas and Baroque eventually uncovers his identity. ‘cellist Heather Krehbiel for selections in- The Carolina Baroque took an early cluding Paul Leenhouts’ Tango für Elise end to its 15th annual Salisbury Bach & (after Beethoven), Brian Bonsor’s jazz Handel Festival, this year entitled “Tele- duet Jemima, Irish traditional pieces and mann and His Friends, Bach and Handel.” Five Brazilian Pieces by Villani Cortes, in While the group regretfully announced at addition to works by composers including a February 16 concert that lack of funding Telemann, Merula, Paisible and Corelli. has necessitated cancellation of its April performance, the third concert in the 2002-2003 Festi- val series, the ensemble also an- nounced plans for a 2003-2004 three-program Handel Festival in Salisbury, NC. The February Carolina Baroque program included arias, duets and chamber music by J. S. Bach. with recorderist Dale Higbee featured on the Suite in D minor, BWV 997. Quynade, a Medieval music group based in Israel, has a web site,
22 American Recorder Composers/Arrangers A Merry Go ‘Round: n March 2, 2003, the American ORecorder Orchestra of the West What can you do with a cute little tune? (AROW) joined with Ensemble Flûtes à Bec de Lyon, a French youth recorder or- chestra on tour in northern California, to may be judiciously and discreetly applied perform an all-French concert in Sacra- to a short tune in two-four parts. In or- mento, CA. Madeleine Mirocourt, the di- chestrating “Margot” for recorder orches- rector, sent me several French pieces to tra, I used techniques 1, 2, 3, 7, 9 and 11, consider, including a folk song, “Margot, building up the tune to nine parts and ex- by Richard Geisler labourez les vignes” (Margie works in the tending its duration to three minutes (see vineyard). example). As more parts are added, the I skipped right past this short, seeming- tune sounds louder and the tempo slows, ly inconsequential, piece to the more chal- until at last it reaches a Finale where it lenging pieces like “La Marseillaise.” Even- comes to a ponderous (glorious?) maestoso T tually, I came back to “Margot,” letting the end with all instruments tutti (together) on his is the ninth in a series of lyrics guide me in articulating the melody, melody. articles featuring the works of which, I found, was cute and catchy. Then In the short excerpt printed here, the composers and arrangers who write I got caught! Imagination and musical ex- comma marks indicate the way to articu- for the recorder. Each installment is late paired notes. From measure 68 on, I perience started to play into this little tune. accompanied by discussion of the That’s why I chose this piece as the top- use the “>” symbol to mean “doubling ic for this article. Anyone with ensemble one octave lower.” By omitting the dou- the composer’s own working experience, a bit of imagination, a mod- blings it can be played, of course, by SATB methods, including the perform- icum of knowledge and a spirit of adven- recorders. However the “build up” of the ance considerations that went into piece won’t happen and the “go ‘round” of ture can take a short, melodious tune such creating the selected piece of music. as “Margot” and orchestrate it to increase the piece will just be more repeats of the its length, add variety and enhance its ap- piece with the same instrumentation. For It is hoped that the considerations peal. Today amateurs have access to tools variety, a bass gamba or ‘cello might enrich that composers and arrangers have that make it possible to engage fully in the the contrabass line. to keep in mind will be of general Above all, arranging music for your creative process of music-making as well as interest to all AR readers, who will making music. Computers, music soft- own use (and that of your musical friends) ware and MIDI files provide the means for should be fun. The techniques described also be able to add to their music amateur recorder players to compose, here are guidelines only. Many savvy ama- collection a series of performable arrange and orchestrate music. teur ensembles throughout the land know short pieces or excerpts. In the box on the next page is a list of these techniques and use them. What you Stan McDaniel, Series Editor simple techniques and procedures that bring to the process is your personal im- Baroque Chamber Music Play-Along CDs! with Music and Performance Guides for Recorder Players Hours of playing and Pre★DiscContinuo enjoyment with early Early Intermediate music specialists Handel, Lully, Purcell, Corelli, Consort Music of Lassus, Dowland, “Seldom will any of us get to be Arcadelt & more accompanied by such fine players!” “This is how practice The DiscContinuo should be!” Intermediate “...Best of all, they pick the most Telemann, Marais, Handel, EXCELLENT music! Frescobaldi & even more DiscContinuo II Advanced Intermediate Bach, Philidor, Mancini, Handel Cantata with soprano Susan Rode Morris & even still more!
TM
To order postpaid, send checks for $ per item plus S & H charges ($ for fi rst item; $. each additional item) to KATastroPHE Records, Florio Street, Oakland, CA , or call () -. Visit our website at www.katastrophemusic.com.
March 2003 23 pulse to create, tempered and guided by TIPS FOR ADAPTING A PIECE FOR RECORDER ORCHESTRA your musical knowledge and experience. 1. Consider changing the original key signature, if it is a difficult one for recorders. In the Sierra foothills town of Grass Val- 2. Add an introduction, perhaps choosing the last few bars to serve the purpose. ley, CA, Richard Geisler leads the Village Fes- 3. Start simple: one or two recorders play through a melody line or a section of a tival Recorder Orchestra, the Blue Oak Con- tune. Add other recorders on other parts as the tune progresses or is repeated. sort and the American Recorder Orchestra of 4. In a tune of three or more parts, play different combinations of parts on the West (AROW), with members from successive repetitions, e.g., play a section as a duet, trio, etc., omitting different northern California cities. For information parts each time. about his many arrangements as well as an 5. Play an alto or tenor line an octave higher on a soprano or sopranino. Sometimes available CD, “Christmas at the Castle,” an alto, tenor or even a bass line plays well as a descant part over the melody. contact
24 American Recorder
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Copyright © 2003 Richard Geisler. All rights reserved. A MIDI playback of this piece is available at
MR. KARASS’S REPLY: David does have a good point. It can be risky to cite a study like this one without explaining that its methodology, results, and conclusions have been challenged. Most music librari- ans, myself included, take great pride in
March 2003 27 BOOK
______REVIEWS ______Music’s role in the reformation, and a catalog of consort music manuscripts MUSIC AS PROPAGANDA IN THE except for some facsimiles and musical ex- scriptions of the manuscripts (of both GERMAN REFORMATION. BY REBECCA amples used for illustration in the analyti- their contents and their physical charac- WAGNER OETTINGER. Ashgate Publishing, cal chapters. She concludes the volume teristics), the book contains sections out- 2001. 451 pp. Hardcover, $84.95. ISBN: with an extensive bibliography, indices of lining the biographies of the original own- 0754603636. songs, original melody titles, composers, ers and copyists, an extensive series of fac- Everyone is familiar with Lutheran and a general index. similes showing the different scribal chorales such as Ein feste Burg that are the While this book—part of Ashgate’s se- hands, detailed description of the water- most enduring musical expression of the ries “St. Andrews Studies in Reformation marks to be found in the manuscripts, as German Reformation. In this book, how- History”—is written for a specialized au- well as a bibliography of works cited and a ever, Rebecca Wagner Oettinger delves dience, and although a fairly detailed general index. more deeply into the way in which music knowledge of Reformation history would As will be apparent, this is a book pri- served the needs of the reformers. Perhaps help in understanding all of Oettinger’s ar- marily for specialists and libraries, and as surprisingly, it was not the sonorous mul- guments, the passion and immediacy of such it is very detailed in its descriptions. ti-choir settings or even the stirring hymns the songs themselves leaps off the page. Twenty-one separate items of information themselves that seem to have been the the- Facsimiles of the fantastic illustrations are provided for each manuscript includ- ologians’ most potent weapon, but rather originally made to accompany the songs ing a description of the scribal hands to be reworkings of hymns and popular songs also brings the material alive. The diatribes found, details of the binding, measure- into the most scurrilous, and even ob- directed by each side against the other ments of the pages of the manuscripts, scene, attacks on their Catholic oppo- makes today’s name-calling political cam- and four different measurements related nents (matched by occasional salvos from paigns seem pale in comparison. to the rastrum (the tool used to draw the the Catholic side). Recorder players will have a richer un- music lines on blank paper). Of course, Oettinger’s central point is that the ef- derstanding of the part played by seem- there is a full description of the music con- fectiveness of the “broadside’” (an inex- ingly simple tunes in one of history’s tained in the manuscript including the pensive polemical pamphlet) was height- greatest dramas after a perusal of this original title and often the key of each ened by the use of music to make the au- book. piece, the number given the piece in the thor’s message more accessible and memorable. Indeed, it would not have been necessary in many cases even to pro- As much as this is a work for specialists, even the duce a written version of a given text if its casual reader can find much of interest. First and musical setting were sufficiently popular. At a time when literacy was still uncom- foremost, it is a pleasure to see mention mon and people used their memories more regularly, some of the poems em- of favorite pieces as they appear in their original ployed in this manner extend to dozens of contexts. verses. Rather than present the history of the Reformation from a musical perspective, THE VIOLA DA GAMBA SOCIETY IN- Viola da Gamba Society’s Thematic Index of Oettinger examines these musical DEX OF MANUSCRIPTS CONTAIN- Music for Viols, and the position each piece polemics in several complementary but ING CONSORT MUSIC, VOLUME 1. occupies in the manuscript. very specific contexts such as “The An- COMPILED BY ANDREW ASHBEE, ROBERT As much as this is a work for special- tichrist in Reformation Polemical Song” or THOMPSON AND JONATHAN WAINWRIGHT. ists, even the casual reader can find much “The Struggle for Ownership of Devotion- Ashgate Publishing, 2001. 418 pp. Hard- of interest. First and foremost, it is a pleas- al Music.” She follows her seven chapters cover, $84.95. ISBN: 0754601307. ure to see mention of favorite pieces as of analysis with an extensive catalogue of As the title of this book states, this is an they appear in their original contexts. It is songs, presenting many of the texts com- index of 49 manuscripts held in eight dif- fascinating to compare the various scribal plete with all their verses in the original ferent libraries in England and the U.S., hands, particularly when they belong to old German and in translation. Since the containing consort music for viols (often one of the composers. The background in- songs almost invariably use pre-existing transcribed in the 20th century for formation concerning the illustrations of melodies that can be found elsewhere, she recorders) by composers such as Jenkins, the sometimes quite fanciful watermarks does not provide the music for the songs Coprario and Gibbons. In addition to de- is enlightening and very readable. Finally,
28 American Recorder there are the intriguing little snippets of information that appear from time to time, such as the fact that old legal docu- ments were often used in the bindings. Although most of the works contained here are listed in the separate Thematic In- dex, it might have been helpful to have had musical examples to help identify the pieces more quickly. As well, the brief his- tories of the changing ownership of the manuscripts, while not the main point of the book, are often fascinating in them- selves and might justifiably have been ex- panded. However, all in all this is an admirable work of scholarship that will provide great Don’t be paper-trained! insight to those researching this wonder- ful repertoire, and will perhaps help to prepare for the day when these manu- August 3-9, 2003 Experience the joy of scripts and others like them might be available for examination online. Any instrument welcome! playing in the oral Scott Paterson No experience necessary! tradition.
Location: Hilltop House with breathtaking views SCHOLARSHIPS overlooking the scenic and historic town of Harpers Ferry, WV on the Potomac & Shenandoah Rivers. Hike, bike, raft! for recorder players to attend T Also, Renaissance, Cajun, British Colonial, recorder/early music French Canadian styles T Learn how to ornament, improvise, arrange SUMMER tunes, make medleys WORKSHOPS T Beginning Irish whistle, lap dulcimer, and applications must be fiddle; faculty concerts, jams & sessions postmarked by April 15
for recorder players to attend
recorder/early music WEEKEND WORKSHOPS throughout the year,
apply two months ARS T-SHIRT ORDER FORM before funding is needed Summer’s coming... NAME:______Workshop scholarships are made ADDRESS:______possible by memorial funds Order your ______established to honor Andrew Acs, ARS T-shirt CITY/STATE/ZIP:______Jennifer Wedgwood Lehmann today! INDICATE QUANTITY OF EACH ADULT T-SHIRT SIZE: and Margaret DeMarsh. Featuring the official __S __M __L __XL AMERICAN RECORDER SOCIETY ARS logo. The de- Box 631, Littleton CO 80160-0631, U.S.A. sign is printed on a royal blue high-quality 100% AMOUNT DUE: $ ______303/347-1120 • 303/347-1181 (fax) cotton (ARS member price of $17 x number of shirts) [email protected] T-shirt. Price is $17 including postage VISA/MASTERCARD #: Clip or copy and send/fax to: ______American Recorder Society SIGNATURE:______Box 631, Littleton, CO 80160-0631 Card Expires:______
March 2003 29
Boon Early Music Feival & Exhibition OUR TWELFTH BIENNIAL CELEBRATION
June 9 - 15, 2003 Paul O’Dette & Stephen Stubbs, Artistic Co-Directors FULLY-STAGED OPERATIC CENTERPIECE GERMANY: A Melting Pot Johann Georg Conradi’s 1691 of French, Italian, Eastern European and Die schöne und getreue Ariadne Regional Influences (The beautiful and faithful Ariadne) Featuring an international cast of singers, instrumentalists and dancers, including:
Drew Minter, Stage Director Robin Linklater, Sets & Costumes Lucy Graham, Choreographer Anna Watkins, Costume Supervisor John Ambrosone, Lighting Designer Kathleen Fay, Executive Producer Abbie H. Katz, Associate Producer Karina Gauvin, Ariadne Howard Crook, Theseus Bernard Deletré, Minos Ellen Hargis, Pasiphae Ariadne is produced in collaboration with Boston’s Handel & Haydn Society Chorus EVENING & LATE-NIGHT CONCERTS By a world-class array of the best in instrumental & vocal ensembles, including: CONCERTO PALATINO THE TALLIS SCHOLARS, directed by Peter Phillips REBEL with MATTHIAS MAUTE, recorder THE TÖLZER KNABENCHOR directed by Gerhard Schmidt-Gaden GIULIANO CARMIGNOLA, violin & ANDREA MARCON, harpsichord ALEXANDER WEIMANN, harpsichord & HILLE PERL, viola da gamba JAN KOBOW, tenor & KRISTIAN BEZUIDENHOUT, fortepiano ENSEMBLE ARTEK, TRAGICOMEDIA THE NEWBERRY CONSORT and so much more! Plus the world-famous Boston Early Music Festival & Exhibition BEMF EXHIBITION PO Box 1286 Over 100 Concurrent Events, Scholarly Symposia, Performance Cambridge, Massachusetts Masterclasses, Workshops, Public Humanities Discussions, 02238-1286 USA Family Day, and much more.
Telephone: 617-424-7232 “The world’s leading festival of early music.” —THE TIMES, LONDON Facsimile: 617-267-6539 “...this country’s most prestigious forum for original instrument performance, E-mail: [email protected] as well as the field’s biggest fair for instrument builders and performers.” www.bemf.org —THE NEW YORK TIMES ______ON THE CUTTING EDGE ______Two new works allow recorders to shine in mixed ensembles
ith this issue, “On the Cutting to showcase the unique combination of had the pleasure of viewing a copy of the WEdge,” the column so ably written instruments used. The Suzuki program at videotape prepared as part of the audition by Pete Rose for many years, passes into the MacPhail Center includes a harp en- process for the 2002 international confer- my hands. I hope that my background as a semble, guitar quartet, recorder consort, ence of the Suzuki Association of the professional recorder player, composer, Americas. Both of the commissioned and keyboard performer will help me to pieces were performed on the tape, and I uphold the high standards set for the col- As we contemplate the was struck by the expressive range this en- umn by Pete. It is my aim to cover inter- semble of teenagers achieves. esting new developments in recorder per- recorder’s place in the There is an obvious problem for com- formance and design, as well as contem- posers who wish to include the recorder in porary compositions that advance the concert world of the 21st a chamber ensemble or orchestral setting. expressive and creative possibilities of the Simply put, the recorder does not balance recorder. century, I believe the with most “modern” instruments. The To that end, I welcome information two composers of the MacPhail pieces about such things from ARS members and MacPhail Center Suzuki solved this problem handily by the simple their colleagues. My e-mail address ap- Talent Education Tour solution of using multiple recorders. In pears at the end of the column and I look numbers there is safety, and effectiveness. forward to hearing from my readers. Group shows us one of the The first piece, MacPhail Variations by For my first column I want to focus on Michael McLean, was commissioned by an unusual student ensemble at the effective ways the Sharon and Clark Winslow for the tour MacPhail Center for the Arts in Min- group. This is attractive conservative mu- neapolis, MN. This is the Suzuki Talent recorder can be used in sic, well-written and full of interest. The Education Tour Group, under the direc- piece is scored for three harps, four gui- tion of Katherine Wood. Recently, two an ensemble setting. tars, three alto recorders, four violins, one pieces were commissioned for this group viola, five ‘cellos, and piano. One of the violin ensemble, ‘cellists doubles on recorder, as well. The viola ensemble, recorders are beautifully integrated into and ‘cello choir, the ensemble, and have plenty of mo- along with partici- ments to “shine” in their own right. The pating pianists. I harps and guitars create a sonic tapestry
The MacPhail Center Suzuki Talent Education Tour Group: above, members performing at the Suzuki Association of the Americas conference in May 2002 (photo by Arthur Montzka); at right, the ensemble in concert dress; on facing page, a more informal moment: (from left) Andrew Waldo, coach, Kyla Eato, Andrew Davis, Benjamin Waldo and James Waldo.
32 American Recorder against which the recorders, strings and prano recorders are used, along with two semble, Andrew Waldo, does a fine job. piano sparkle and dance. This is an effec- pianos played by three players. The harps, His precise beat and clear cues are exem- tive piece in every way. guitars and strings are the same as in the plary, and it seems to me the music is More contemporary in idiom, Fanfare McLean piece. Artful use of recorder trills brought vividly to life on the audition and Dances in Mixed-Up Lydian by Sarah E. gives brightness to the music. The use of video. Miller employs shifting meters, syncopa- doubling allows the recorders to hold their As we contemplate the recorder’s place tion, and a good deal of chromaticism to own in the ensemble without problem. in the concert world of the 21st century, I create music of dramatic power. This piece Both composers are faculty members believe the MacPhail Center Suzuki Talent was commissioned by the parents of Barry of the MacPhail Center, and it is obvious Education Tour Group shows us one of Wark for his 21st birthday, with thanks to that they are familiar with the capabilities the effective ways the recorder can be used his Suzuki teachers. In this piece four so- of this ensemble. The conductor of the en- in an ensemble setting. Perhaps the unam- plified recorder has no chance against brass, percussion, and “high-powered” modern woodwinds, but in a different kind of instrumentation, such as the tour group uses, the recorders work just fine. You can learn more about the MacPhail Center for the Arts at their website:
March 2003 33 MUSIC
______REVIEWS ______Music from Down Under, recorders in tens, movements with movement, Byrd and birds
SONATINE, BY HIKARU HAYASHI. Miero- HOW MANY SUNSETS WILL I SEE? most unlikely and delightful tango feel print EM1110 (can be ordered from Von AND A MEDITATION OF SAINT projects through the music. Huene Workshop or directly: PO Box CLARE, BY ROBERT ALLWORTH. Nicholas Ng’s Poppies and Spice for 5544, 48030 Münster, Germany; Tel.: Orpheus Music OMP 085 tenor and guitar is the most appealing of 0049 251 23 29 86; Fax 0049 251 230 (
34 American Recorder them will also add interest to a perform- playing a melody that may have some Vi- ance. valdi-like contours but, in a general way, The White-throated The ten movements of Benjamin resembles “The Sailor’s Hornpipe.” As in Warbler was recorded in Thorn’s Mefisto Miniatures are indeed very the second movement, the recorder en- brief, but are they “Mefisto?” I can’t find semble serves as a subordinate backdrop. the 1970s by both Carl that word in any dictionary. Perhaps it is Unlike in the other movements, where the Dolmetsch and David Thorn’s personal way of spelling “Mephis- percussionist plays simple ostinato pat- to,” a short form of “Mephistopheles.” terns on two tom-toms, the drums here Munrow. As a result of However, this fairly gentle music does not are exclusively featured in a brief, loud so- these recordings, it strike me as being particularly devilish. lo gesture that perhaps might be a refer- Thorn’s melodies are modal, and the mu- ence to gunfire in a battle. This gesture ap- became the face of modern sic includes duets combining recorder pears as an interjection at cadence points. Australian recorder music with the pitched marimba in some move- It is shocking on first hearing, but after a ments and with non-pitched bongos and while becomes progressively predictable, to the world-at-large. This suspended cymbal in others. There are al- then ridiculously funny. It appears a dozen changed in the early so two solo movements for each per- times! 1990s when Benjamin former. The music is not very difficult and The editions are nicely printed. There could potentially be handled by an upper are bad page turns in Two Diagonals and a Thorn’s powerful bass intermediate recorder player. Squiggle: two in the recorder part and one recorder composition The Two Diagonals and a Squiggle is an en- in the percussion. Two Diagonals… is a tirely different story. This is vintage Thorn, gem, and the other pieces are also worth Voice of the Crocodile was which is to say it is powerful, dynamic, col- checking out. published by Edition orful, quirky, humorous, high-spirited, and exciting. Like the famous Voice of the THE WHITE-THROATED WARBLER, Moeck. Crocodile, this piece is based on cellular BY NIGEL BUTTERLY. Orpheus Music 059 ideas that are subjected to various muta- (
March 2003 35 MUSIC REVIEWS (cont.)
quickly develop into a barrage of noises of fully printed and contain no bad page but recast in C major and in a 5/8 meter ever-increasing intensity. More pro- turns. Warbler has a brief biographical that is sometimes grouped 3+2, other nounced wilder calls emerge out of the note on the composer, and Pipistrelli has a times 2+3. That wouldn’t be terribly general confusion, these also increasing in single page of suitable and to-the-point in- hard, were it not for the very fast tempo frequency and character from sustained structions. Both works will be of interest demanded by Thorn. At =150, this multiphonics to screeches and screams. primarily to professionals. movement is quite difficult to maintain. Quite dramatically, the music suddenly Zaida Gaire by Tony Lewis is a rhyth- stops and a brief, purely acoustic inter- DEEP SEA PERSPECTIVES, BY BEN- mically-driving and highly-repetitive mini- lude—quite shocking in its simplicity—is JAMIN THORN. Orpheus Music OMP 067 mal work in a pan-diatonic language. It heard. The wild confusion returns in mod- (
Beatin’ Path Publications BAGLIORI, BY BENJAMIN THORN. Orpheus Music OMP 082 (
36 American Recorder will have a lot of fun with them and be graders, the best word to describe it would In Bagliori Thorn forced to use their imagination. be “awkward.” employs a dissonant, Technically they range from moderate The theory is that “Slap/Clap/Tap” to fairly difficult. A good teacher experi- moves the body through the weight and atonal vocabulary to enced in modern music will be a must for shape of each meter, delineating the end- create a paradoxically understanding the notation. ing point of each beat. Each 2/4, 3/4, and delightful music that is— The edition is beautifully printed and 4/4 pattern is different, thereby embody- like the Addams Family— has no bad page turns. The extensive per- ing the weight of the accents and lightness formance instructions are offered in Ger- of the offbeats. The “Talking Music” com- both spooky and spoofy. man, English, and French. positions “...use words spoken rhythmi- Pete Rose cally in conjunction with Slap/Clap/Tap in al vocabulary to create a paradoxically de- order to read music better by feeling the lightful music that is— like the Addams YOU'VE GOT RHYTHM: A beat.” It is the same idea used by Orff and Family—both spooky and spoofy. The COMPLETE METHOD FOR others, but here the spoken words do not harpsichord and the pair of recorders (the READING RHYTHMS, BY ANNA seem to fit rhythms/meters they are sup- latter functioning simultaneously as a DEMBSKA AND JOAN HARKNESS. posed to illustrate. Phrasing and meaning team) play a cat and mouse game in Flying Leap Music, ISBN 1-930664-04-4 are lost and require quite a bit of explana- both the beginning and ending sections, (1348 71st St., Brooklyn, NY 11228; tion. My fourth- and fifth-graders felt the each in turn playing a little spurt of notes 718-837-0007;
March 2003 37 MUSIC REVIEWS (cont.)
DESCANT RECORDER PREP TEST, BY staves for composition and a fun word THE ASSOCIATED BOARD OF ROYAL SCHOOLS search. As is typical of Marais’ OF MUSIC. ABRSM Publishing (Theodore My fourth-graders were able to perform music, the beauty of these Presser Co.), 2001. S, Sc 12 pp. $7. these pieces easily after a week’s review in movements lies especially This is a short, yet comprehensive, test September. My fifth-graders were rather in their elegant Lullian booklet for older beginning level players. huffy and indignant (as only such “experi- textures and colorful The range is from low C to middle D, with enced” ones can be) when I asked them to 4/4 and 3/4 meters and the keys of C and “do the road test.” harmonies. Although in G. Note values used are whole, dotted Elyse Belanger the end the ornaments are half, half, quarter, and paired eighths and integral to the style, most rests. Basic articulation and phrasing tech- SUITE FROM “PIÈCES DE VIOLES of these pieces would niques are also tested, as well as listening (2E LIVRE)” (1701), BY MARIN MARAIS, work almost as well skills. ARR. ERNST KUBITSCHEK. Doblinger without ornaments as Part I consists of three very short, but DM 1290 (
38 American Recorder influenced German High Baroque, famil- iar from Telemann or Quantz—although ARS Membership Enrollment and Renewal with some original touches, such as the Please enroll/renew me as a member of the Society. I’m looking forward to: chromatic flourish in the first movement ✰ of this first sonata or the bar of silence in American Recorder, ARS Newsletter, and the Members’ Directory ✰ the second movement of the second Members’ Library musical editions ✰ sonata. While the soprano recorder does Eligibility for the ARS Education Program examinations ✰ Discounts to some recorder workshops and on ARS publications not, of course, have the warmth of the ✰ Mailings from suppliers of materials, music, instruments. (ARS list is made flute or violin, the fast movements of these available only to purveyors of goods and services for recorder players.) pieces, in particular, are of a lively charac- ✰ Information on all aspects of playing the recorder ter that responds well to the instrument’s brightness. The music is about equal in U.S./Canadian membership: ❏ one year $40, ❏ two years $75 difficulty to a Handel sonata and will be of Foreign membership: ❏ one year $50, ❏ two years $95 special interest to an upper intermediate U.S./Canadian Student* membership: ❏ one year $20 ❏ two years $40 or advanced player who has played Foreign Student* membership: ❏ one year $25 ❏ two years $50 through the traditional Baroque sonata fa- vorites and is looking for a change of pace. Workshop membership: ❏ one year $60 Business membership: ❏ one year $120 Nitz has added some tasteful sugges- ❏ Address and/or phone information has changed in past year. tions for trills and slurring and gives alter- ❏ Do not list my name in Directory. nate suggestions for some questionable *Enclose proof of full-time enrollment. readings in the manuscript originals. His All dues paid in U.S. funds by check on U.S. bank, or by international money order. continuo realizations are well-coordinat- Family members residing at the same address may share a membership. However, ed with the solo part without being too the student rate is not applicable to a shared family membership. For an additional busy. He includes some background listing in the ARS Directory under different surnames at the same address, add $5. notes that are informative, if rather poorly Please check to be included on the ARS list of translated. The layout is clear with no bad ❏ Recorder teachers and/or ❏ Professional performers. (Since your recorder activities page turns and there only seems to be one may change, you must indicate on each renewal if you want to continue to be listed.) typographical error, a missing B in the ❏ I wish to contribute $______to help sustain the work of the Society. continuo realization in the second bar of Please charge to my VISA/MASTERCARD: the first movement of the second sonata. #______Exp. Date: ______Cardholder’s signature ______DIE KLEINE KAMMERMUSIK NAME______PHONE (______)______(1716/1728), BY GEORG PHILIPP TELE- ADDRESS ______MANN (VOL. 1, PARTITAS I-III AND VOL. 2, ______E-MAIL ______CITY______STATE ____ ZIP/POSTAL______PARTITAS IV-VI), ARR. MARTIN NITZ. Doblinger DM 1285 and 1286, 2001. CHAPTER/CONSORT AFFILIATION, IF ANY:______A and bc, Sc 31 pp, pts 10 pp (Vol. 1) and OPTIONAL INFORMATION: Sc 43 pp, pts 9 pp (Vol. 2). Chapter officer or committee member? Telemann’s Die kleine Kammermusik, a ❏ Yes (officer/committee: ______) ❏ No ❏ Have served chapter in past collection of six six-movement partitas, Age: _____ For how many years have you played the recorder? _____ was one of the first important collections Level of recorder playing: ❏ Amateur ❏ Semi-professional ❏ Professional written for oboe and continuo. In its orig- Annual income: ❏ Under $10,000 ❏ $10,000-30,000 ❏ $30,000-50,000 inal keys it sits reasonably well for sopra- ❏ $50,000-75,000 ❏ $75,000-100,000 ❏ Over $100,000 no recorder, but Martin Nitz has now Portion of your income derived from music: ❏ All ❏ Some ❏ None transposed the collection for the alto, Portion of music income derived from the recorder? ❏ All ❏ Some ❏ None bringing a different perspective to the mu- sic for recorder players. If all or some, what kind of recorder activities are involved? (Check all that apply.) Nitz has used a variety of intervals of ❏ Teach privately ❏ Teach/lead workshops ❏ Teach elementary school music ❏ Performance ❏ Recorder maker ❏ Musical director/coach transposition in order to work around dif- ❏ Other ______ficult key signatures or unusually high What type of recorder music do you play? (Check all that apply.) bass lines (the few octave transpositions ❏ Medieval/Renaissance ❏ Baroque ❏ Modern/pop ❏ Folk ❏ Solo that remain in the bass have been clearly ❏ Recorder Orchestra ❏ Chamber music with other instruments (such as marked). Although this disrupts Tele- trio sonatas) ❏ Broken consort with other instruments (such as a collegium) mann’s scheme of relative major-minor ❏ Consort involving three or more recorders playing one-on-a-part ❏ Grand consort (format used in many chapter meetings, with several recorders playing on each part) key pairs in the collection, it does mean that the music lies better here for the alto AMERICAN RECORDER SOCIETY recorder than it does in the original keys P. O. Box 631, Littleton, CO 80160-0631, U.S.A. for soprano. Fax (with handset down) or call in credit card renewals to 303-347-1181
March 2003 39 MUSIC REVIEWS ARS PUBLICATIONS (cont.) Erich Katz Contemporary Music Series Members Non-Members Suzanne M. Angevine, A Short Tale for two basses (Level II) (2 scores) $ 5 $ 8 Peter Ballinger, Double Quartet for Recorders (Level II-III) (score & parts) $10 $18 Anthony Burgess, Sonatina for Alto Recorder and Piano (Level II) (2 scores) $7 $12 Cecil Effinger, Dialogue and Dance (SATB) (Level II-III) (score & parts) $10 $18 Lee Gannon, Sonatine for three altos (Level III) (score & parts) $14 $26 While not as challenging as Tele- (score, parts & demo cassette) $23 $43 Erich Katz, Suite of Jewish Folk Tunes (S S/A8 A/T) (Level II) (three scores) $10 $18 mann’s sonatas, Die kleine Kammermusik Vaclav Nelhybel, Six Short Pieces for Three Recorders, (AA/TT) (Level II) is every bit as enjoyable. It is in this type edited by Alan Drake (3 scores) $8 $14 Stanley W. Osborn, Kyrie and Vocalise for soprano voice and recorders of easy-going, engaging writing that Tele- (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14 mann’s inexhaustible creativity is seen to Frederic Palmer, Entrevista (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14 Sally Price, Dorian Mood (SATB) (Level II) (score & parts) $10 $18 best advantage in his singable melodies, Jeffrey Quick, Picnic Music (SATB) (Level II) (score & parts) $ 5 $ 8 striking harmonic turns and inventive tex- Musical Editions from the Members’ Library: tures. One misses Telemann’s superbly id- 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 iomatic writing for the recorder, but this is The ARS is happy to provide photocopied enlargements of any Members’ Library edition at the same prices. Please a small price to pay for access to such en- specify “Members’ Library Enlargement.” * = Editions not yet available to non-members. tertaining music. *Après Paul (David W. Solomons) Serie for Two Alto Recorders (Frederic Palmer) Bruckner’s Ave Maria (arr. Jennifer W. Lehmann) Slow Dance with Doubles (Colin Sterne) Nitz has made suggestions for extra Dancers (Richard Eastman) *Sonata da Chiesa (Ann McKinley) slurs, trills and phrasing breaks. He has al- Different Quips (Stephan Chandler) Three Bantam Ballads (Ann McKinley) Elegy for Recorder Quartet (Carolyn Peskin) Three Cleveland Scenes (Carolyn Peskin) so, somewhat unusually, provided a Elizabethan Delights Tracings in the Snow metronome marking for each movement, *Gloria in Excelsis (Robert Cowper) in Central Park (Robert W. Butts) *Imitations (Laurie G. Alberts) Trios for Recorders (George T. Bachmann) but, of course, performers are free to Los Pastores (arr. Virginia N. Ebinger) Triptych (Peter A. Ramsey) choose their own tempos. The continuo New Rounds on Old Rhymes (Erich Katz) Two Bach Trios (arr. William Long) Other Quips (Stephan Chandler) Two Brahms Lieder (arr. Thomas E. Van Dahm) realizations are rather full, and there is Poinciana Rag (Laurie G. Alberts) *Variations on “Drmeš (Martha Bishop) sometimes octave doubling of the solo Santa Barbara Suite (Erich Katz) Vintage Burgundy Sentimental Songs (arr. David Goldstein) line in the inner parts, but generally Nitz has been idiomatic and unobtrusive in his Other Materials from ARS realizations. ARS Information Booklets: ARS members: 1 booklet, $13 2 booklets, $23 3, $28 4, $35 5, $41 6, $47 7, $52 Although there is no critical report as Non-members: 1 booklet, $18 2 booklets, $33 3, $44 4, $55 5, $66 6, $76 7, $86 such, Nitz provides a thorough back- Adding Percussion to Medieval and Renaissance Music (Peggy Monroe) ground note and footnotes where neces- American Recorder Music (Constance Primus) The Burgundian Court and Its Music (Judith Whaley, coord.) sary to clarify any contentious points. Improve Your Consort Skills (Susan Carduelis) There seem to be only a couple of mis- Music for Mixed Ensembles (Jennifer W. Lehmann) Playing Music for the Dance (Louise Austin) prints, both in the solo part: an F for a G Recorder Care (Scott Paterson) in bar 6 of “Aria 5” of the first Partita and Education Publications a missed accidental in bar 20 of “Aria 3” of The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). Partita 4. First copy free to ARS Members (mailed to current members in 1996 & new members as they join); replacement copies for members or non-members, $3. Recorder players who know this as Guidebook to the ARS Personal Study Program (1996). Material formerly published in the Study music for the soprano may well want to Guide and Study Guide Handbook, plus additional resources. Members, $11; non-members, $20. ARS Music Lists (2002). Graded list of solos, ensembles, and method books. make its acquaintance anew in these Members $8; non-members, $14. arrangements, while newcomers should Package deal available only to ARS members: Guidebook and Music Lists ordered together, $15. Junior Recorder Society Leader’s Resource Notebook. ARS members, $20; non-members, $40 certainly make the effort to get to know (updates at reduced rates after initial purchase). Special rate for previous purchasers of JRS Class the collection. Program, $15. Dues for each JRS student member sponsored by an ARS member, $5 ($4 each for groups of 10 of more). JRS student members receive activities plus “Merlin” badges and stickers. Scott Paterson Other Publications FANTASIA IN SIX PARTS, BY WILLIAM Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering forming an ARS chapter. ARS members, $10; non-members, $20 (updates free after initial purchase). BYRD, ARR. GREG LEWIN. Hawthorns Mu- One free copy sent to each ARS chapter with 10 members or more. sic RB 20 (Magnamusic), 2002. SSATBB, Discography of the Recorder, Vol. I (1989). Compiled by Scott Paterson and David Lasocki. Discography of the Recorder, Vol. II (1990-1994). Compiled by Scott Paterson. Sc 16 pp, pts 2 pp ea. $ 13.50. Either single volume: ARS members $23; non-members, $28. ANOTHER FANTASIA IN SIX PARTS, Both Discography volumes together: ARS members only, $40. BY WILLIAM BYRD, ARR. GREG LEWIN. American Recorder: Cumulative Index for Vols. I-XXXX. ARS members, $20; non-members, $32. Index Supplement, Vol. XXXIV-XXXX. ARS members, $8; non-members, $14. Hawthorns Music RB 21 (Magnamusic), All prices are in U.S. dollars and include U.S. postage and handling. For Canadian or foreign surface postage, please 2002. AATTBB, Sc 16 pp, pts 2 pp ea. add an additional $1 per item; for Canadian or foreign air mail, please add an additional $3 per item. When ordering $13.50. five or more items to be shipped anywhere at the same time, ARS Members may deduct an extra $2 on top of the discounted members' price. Please make checks payable to the ARS. VISA/MasterCard also accepted. William Byrd was recognized in his time as a giant of English music. In fact, he American Recorder Society P.O. Box 631, Littleton, CO 80160-0631, U.S.A. 303-347-1120 was described at his death as the “Father
40 American Recorder of Music.” Although he wrote fluently in every form, Byrd was primarily a church Provincetown Bookshop Editions composer, so it is natural that sacred mu- sic forms the bulk of his output. Byrd’s MUSIC FROM THE SOUTH consort music is meager in terms of quan- Southwest of Baroque, by David Goldstein tity, but not in quality. His consort fan- A Suite for 2 Recorders (SA) in Western style tasias and In nomines are among the mas- (PBE-2) ...... $3.50 terpieces of the era. These two pieces, his only six-part fantasias, represent Byrd at Una Festa di Canzone his finest. The dance-like triple time sec- 6 Popular Italian Songs, set for 4 Recorders (SATB) tions paved the way for the dance suites of by Andrew Charlton (PBE-27, Score & Parts) ...... $7.95 Simpson, Brade, and Schein, among oth- GASPAR SANZ: 2 Spanish Dances, 1697 ers, in the 1620s. Españoleta; Canarios — Arr. for SATB Recorders These pieces were probably intended for viol consort, but a recorder perform- & optional Guitar by Andrew Charlton ance cannot be ruled out. They have been (PBE-19, Score & Parts ) ...... $5.95 published before—most notably in the A good source for Recorder & Viol Music of all publishers. edition by Robert Salkeld, recently reprinted by Faber in 1984, and the more The Provincetown Bookshop, Inc. recent London Pro Musica edition by 246 Commercial Street, Provincetown, MA 02657 Tel. (508)487-0964 Bernard Thomas of 1998. The original key signature is two flats, but recorder edi- tions are frequently found transposed up a whole step. This is historically-justified, since one of the original sources has this same transposition. The Salkeld edition is a recorder arrangement using that trans- position. The LPM edition is a generic one, presenting the music in its original form, but providing parts in both keys. These two fantasias have been arranged for recorders in this new edition by Greg Lewin but retain the more com- mon key signature (two flats). From a practical standpoint, this decision repre- sents a problem: unless the consort has a great bass recorder or a gamba, some crit- ical notes will need to be played up an oc- tave, which will eliminate some very rich sonority. Lewin includes such notes in his edition at a smaller size. These pieces are not easy, RB 21 being the more difficult of the two. Individually, the parts are of moderate difficulty. The real difficulty lies in bringing the consort together rhythmically, particularly in the three-against-two section in RB 21. In both of these pieces a conductor would be a plus for a successful performance, but not a necessity. One problem with this edition is that the time signature is 4/4, but these pieces really need to be felt in 2/2 in order to smooth the transitions to and from the triple time sections. A couple of small quibbles: originally there were no titles to these pieces. It is unclear why Lewin chose the title for RB 21. The title seems to trivialize this magnificent music. Lewin’s notes are also vague. He states that the upper parts in RB 20 could be played on alto recorders,
March 2003 41 MUSIC REVIEWS (cont.)
FOUNDED 1915
and in the notes to RB 21 he mentions that frequent. Many of the slurs are in tricky the upper parts could be played on sopra- passages of cross-fingered accidentals, but TENTH ANNUAL nos. In neither case does he provide parts. it would be worth one’s effort to conquer But these are minor points. some of these difficulties in order to play International This is the very best late Renaissance the work. music. Any chapter or consort would do Upon first glance, the fugue looks like Baroque well to add this edition to their library. an allegro movement from one of Vivaldi’s Frank Cone has played recorders since flautino concertos. Our reading group Institute at college. He joined ARS, and his first chapter, found the abundant sixteenth notes to fall in 1985. He is currently a member of the Or- fairly well “under the fingers” most of the Longy ange County (CA) Recorder Society and is time. One familiar with interval exercises founder/musical director of Accademia Filar- based on arpeggios and scales will find monica Riverside. He also plays the viola da that the passages are not threatening and JULY 18–27, 2003 gamba, cornetto, and organ. By trade he is a that only the chord progressions are likely firefighter/paramedic in Riverside County, to make sight-reading a little difficult. Oc- TERPSICHORE: and is an accomplished autodidact. tave leaps (and sometimes larger) will give the fingers quite a workout A seminar on the PRÄLUDIUM UND FUGE (1999), BY This work quickly found its way onto development of the MATTHIAS MAUTE. Carus-Verlag (Boulder my list of recommended quartets. Maute dance suite in the 17th Early Music Shop), CV 11.131, 2000. is to be applauded for this tremendous AATB, Sc 14 pp, pts 16 pp. $15.50. contribution to the quartet literature. On- & 18th Centuries Matthias Maute, now a well-known ly time will tell, but this work should easi- recorder teacher and performer, has cer- ly make its way into the standard reper- tainly made his mark on the recorder toire composed during our lifetime. FACULTY scene as a composer. This Präludium und Fuge was composed a mere 10 years after PASSAMEZZO PAVAN AND Phoebe Carrai, co-director, cello his first publication. As Maute explains in GALLIARD, BY PETER SEIBERT. Arthur Haas, harpsichord his foreword, the work is intended to imi- PRB Productions (510-526-0722; Manfred Kraemer, violin tate Baroque forms. The fugue movement
42 American Recorder instruments into the upper extremes of FORS SEULEMENT (4 SETTINGS CA. editor, Bernard Thomas, describes as one their ranges, which helps in making this 1500), BY ANONYMOUS, PIERRE DE LA RUE, of the most popular pieces of the 15th cen- music feasible for larger groups of musi- MARBIRANO DE ORTO, AND GILLES REIN- tury. Thomas presents here four of the 30 cians (and also with viols, one would GOT, ED. BERNARD THOMAS. London Pro secular pieces based on this song, which think). Musica EML 378 (Magnamusic). Four in- also served as the basis for a number of I am not reluctant to admit my general struments, Sc 8 pp. $7.50. masses. dislike of some music that is “neo-” any- SALVE REGINA, BY JOHANNES GHISELIN, While in each case one line serves as a thing. I have seen many compositions that ED. BERNARD THOMAS. London Pro Musica use harmonies that are voiced too closely cantus firmus, there is lively rhythmic in- EML 366 (Magnamusic), 2000. Four voic- (i.e., the chord is written with all the voic- terest in each part. Each piece could con- es or instruments. Sc 4 pp. $5. ceivably work with an ATTB scoring O VENUS BANT (2 ANONYMOUS (Thomas suggests a small alteration to One of the consistent SETTINGS CA. 1500), ED. BERNARD make this possible in the setting by de Or- strengths of Seibert’s THOMAS. London Pro Musica EML 373 to), but ensembles will want to experi- compositions is the (Magnamusic), 2000. Four instruments, ment according to the style of recorders Sc 4 pp. $5. being used and the performers’ comfort presence of a melody that These editions of music from around is both memorable and with octave transposition and extremes of 1500 are a reminder of the beauties to be range. Thomas thoughtfully includes Ock- pleasant. found in this period, a time when music eghem’s original rondeau, although in one had just begun to take on the full sonori- copy only, while there are four copies of ties of the High Renaissance without los- es playing in the same register) or lines the other pieces. ing the delight in experimentation typical that are too abundant in polyphonic writ- The motet Salve Regina by Ghiselin (a of the late Middle Ages. In all, seven com- ing, either of which can obscure the composer also known as Verbonnet, ac- melodic content. Seibert knows where to posers are represented (including three cording to Thomas) would best be played thin out the lines to emphasize individual anonymous composers), and each work by an SATB recorder ensemble. The work textures. Nothing about his writing is per- displays an engaging variety of rhythmic is in five segments, beginning with a line of functory, so his obvious artistic skill and textural coloring. plainchant followed by a short section in should not be taken for granted. Fors seulement was a three-part ron- four parts, extended sections in three and An example of Seibert’s contributions deau by Johannes Ockeghem, which the four parts, and concluding with a short to workshop repertoire is his Ten Bass Hit (also known as The Ten Tenors). Composed for a bass recorder class taught by Frances Feldon, it provides an opportunity for large groups of bass recorders to play a two-octave range and for everyone to have a demanding part. For much of the piece the score is written so that the instruments are divided into two choirs. Usually, sever- al lines are in unison. Less experienced players, consequently, are able to hear their part being played by one or more oth- er musicians. Seibert uses a few acciden- tals, but doesn’t keep the performers in unfamiliar territory for long passages. The players should be thankful of the abun- dance of high D s and E s; the technical challenge will pay off in the end. Astute musicians will probably spend some effort finding acceptable fingerings for these notes and tuning the unison passages. As an alternative, Seibert has provided a score and set of parts transposed for ten tenor recorders. He acknowledges that one might find ten tenor recorder players more readily. The suggestion is also of- fered that 10 altos or 10 sopranos could play the tune. I shudder at the thought of the latter! Jody L. Miller
March 2003 43 MUSIC REVIEWS (cont.)
double canon. Thomas identifies musical references to three other pieces in the course of the work. Even ignoring the changing number of parts, the piece ex- hibits the greatest textural variety of all the works reviewed here, from interpolated duets to sections in block harmony. Al- though the motet would work best as a vo- cal piece, it also sounds quite well on recorders. Thomas explains that O Venus bant was a Dutch popular song that served as a basis for several settings, some of which have already appeared in other LPM pub- lications. The two anonymous settings of- fered here seem to take inspiration from the popular character of the original, which Thomas prints as an addendum. Each presents the original tune as a prominent cantus firmus, but the other parts feature sprightly interweaving rhythms that make for a lively instrumen- tal texture. The second setting even fea- tures a two-voice canon throughout in the middle parts. Both settings could be per- Canto Antiguo Early Music formed by an AATB grouping, but, again, ensembles may want to experiment with West Coast Early Workshop the resources on hand. Music and Dance As with all these pieces, the music July 20-26, 2003 would be most comfortable for an inter- Featured Faculty Chapman University mediate or advanced ensemble. Orange, CA Each of these editions is generally up Thomas Axworthy to LPM’s high standards of presentation, Janet Beazley with the notable exception of a printing Classes in flaw that obscures the bottom line on each Ronald Glass page of Ockeghem’s original setting of Julie Jeffrey Baroque Music Fors seulement, thus rendering the setting Judith Linsenberg Recorder Ensemble unusable. Perhaps this error could be (all levels) remedied in future printings. Jim Maynard Vocal Ensemble It is also unfortunate that no transla- Shirley Robbins tions are provided for Ockeghem’s ron- Renaissance Brass deau or for Ghiselin’s motet. However, Grace Sheldon Williams and Reeds there are no obvious misprints, and the Viols policy of presenting a score for each per- Beautiful Campus Collegium former is much appreciated. Fully air-conditioned Those unfamiliar with the music of the Folk Dance late 15th century will find a good intro- For Information Call duction in any of these three editions. 800-358-6567 www.cantoantiguo.com Scott Paterson
44 American Recorder ______OPENING MEASURES ______Ensemble etiquette
bserving many music groups in ac- all blowing at different strengths. Ther- portant refreshment break! Really, a break Otion—both from within and without, muthis, could you come down a bit, and is important because players need a on professional and amateur levels—I Spottiswood, could you blow a little chance to chat, and a small snack can have become convinced that some discus- more?” This can be said by whoever has boost energy for better playing. Just re- sion of etiquette is strongly needed. By eti- noticed the problem, whether the group member to rinse your mouth before play- quette, I mean some guidelines as to how has a leader or not. ing again. we are to treat our fellow musicians and Once the ensemble has played the how we would ask to be treated by others. Rule number 2: Do not assume you piece a time or two, the leader must step in One of the biggest difficulties—the are in charge unless your ensemble and direct work on the piece—technical stickiest of situations—occurs when a has discussed this issue and made problems or points of interpretation. The member of an ensemble has a continually you the boss. leader needs to allow other members to appearing bad habit: playing out of tune, In other words, do discuss with mem- put forth their musical ideas, but has the blowing too loud, bad tone, poor rhythm, bers how you all would like to run your en- final say if a choice has to be made. Lead- etc. How do you address this problem? semble. Your decision will depend on the ers, please don’t let power go to your head, My answer to that is: KINDLY. personalities of all the players. Sometimes causing you to treat your fellow players as most of the players feel unconfident about lowly subjects. Be nice, be kind, remem- Rule number 1: Please don’t say to a leading, would rather follow, don’t have ber you are all there to play music, which person “you are out of tune,” “you faith in their own musical skills and judg- you all love to do. played a wrong note there,” “you are ment, and would like to have one person Followers, please don’t let your posi- counting wrong,” etc. be in charge. In other cases, all the players tions make you take on an “us vs. That form of address is felt as a person- feel equally confident about putting forth him/her” mentality and become sullen al attack (even if only mildly or nearly sub- their ideas and about taking suggestions and stubborn. Everyone must try musical consciously), and will not help the person from others, and the group ends up being suggestions with an open mind, and then to correct problems. Try instead saying, led by consensus. Problems arise when an give opinions. “We are out of tune”—because after all, ensemble has more than one person who tuning is an issue involving more than one wants to lead, who feels very strongly How to say you hate a piece without person; or say “We are not playing cor- about how things should be played, and hurting the feelings of the person rectly in measure such and such,” “We are who wants to be in charge. who chose it having rhythmic problems,” “Our tone is I think players in ensembles should say If you find that, after playing with an terrible!” and so on. Even if the problem is plainly what their mode is: leader, follow- open mind and open ears, you just do not clearly caused by a certain person, starting er, equal partner. If there are two (or more) like a piece of music, you must say so. the sentence with “we” rather than “you” leaders, they should take turns leading dif- Avoid saying, “This is the stupidest piece shows good will and a spirit of trying to ferent pieces. This is a good way to run an of music I ever heard!” Instead, try some- improve the entire ensemble. Starting the ensemble, no matter what the personali- thing like, “This piece just does not speak sentence with “you” shows a desire to ties of the players. Each person chooses a to me” or “I just don’t like this piece of mu- place blame, or make yourself look good piece to work on and acts as the main sic.” The way we say things really does (or avoid looking bad). leader for that piece (although, of course, make a difference. If everyone just keeps In dire cases, when the “we___” sen- leaders must always be willing to allow in mind that the other players are people tence has not worked, one can say “We are other players to put forth their ideas.) worthy of respect, all will go well. still falling apart in measure 15. Abiasula, I believe you may have played a B .” Or say, The role of the ensemble leader How to say you think a piece is too “Our tone is still not quite as good as the Whoever is leading the ensemble, and difficult for your ensemble Flanders Recorder Quartet. I think we are however many leaders you have, there are Sometimes a member of an ensemble certain things for which the leader is re- will bring a piece that may be a very nice By etiquette, I mean some sponsible. One of these is running the re- one, great fun to play, and so on, but it be- hearsal. If you have several leaders, each comes clear to you that it is simply to diffi- guidelines as to how we leading a different piece, the ensemble as cult for the group at that time. If everyone are to treat our fellow a whole must make a rehearsal plan, di- notices this, there is no problem; you just musicians and how we viding time between all the pieces. Then put it aside for later, when the group and would ask to be treated by the leader’s job is to stick to the time plan its players have improved. so the ensemble can get to all the pieces. If, however, there are some members others. Don’t forget to include time for the all-im- who don’t seem to realize that the piece is
March 2003 45 beyond the group’s abilities, you must some point the progressers will become to say it. Please use the kind way. It could find a good way to say this. You might as frustrated because the happy chuggers be you will want to play with some of these well begin by saying, “I think this piece is never do get that passage of sixteenth people later on, or perhaps just remain too difficult for us at this stage.” Speak of notes cleaned up. Roy will become irritat- friends. the group as a whole, rather than pointing ed with Emma pestering him to “get ready out individual players as weak links. Men- for Carnegie Hall,” nose ever to the grind- To perform or not to perform tion specific causes of difficulty such as, stone. Everyone else in the group will fall I think that most groups will benefit “We just can’t play fast enough yet” or in with one or the other, more or less, and from at least occasional performing. How- “Our ensemble skills are not yet up to pretty soon everyone is dissatisfied. ever, I think it is very important that you this.” Rather than letting this go on to the respect your audience (and yourselves) by point of ruining the ensemble, it is much preparing as well as possible and playing What if one or two members of an better to have a talk over a nice meal. Dis- your best—especially if you are charging ensemble are holding others back? cuss what you each like about playing mu- money, either as tickets or for paying gigs. First, when you form your ensemble sic, how you want to work (or not work), People show respect for you when they sit you should try to choose players who have what your goals and interests are. down to listen attentively to you; you the same basic goals. The two main types Of course, it is best to do this as you should show respect for them by playing of player are those who just want to play form your group because you can then just well—in tune, with good tone, with the music with friends each week and are not get together with people of similar inter- right notes and rhythms. People deserve interested in improving their playing or ests and goals. In the case of a group that quality for their money. the level of the group; and those who like has been going on for years, you should Having said this, I must also say that to work on their own skills and want to still have such a discussion (if anyone is any ensemble—even an ensemble of be- progress with the ensemble. The second dissatisfied—but if it ain’t broke, don’t fix ginners—can perform well if they choose type often also has strong interest in per- it). It could end up that the group splits in appropriate music. Play music that is eas- forming. two, or even dissolves. Or those who want ier than the most difficult music you can First, let me say that both of these in- more direction and challenge can form a get through in rehearsal. The music must terests are valid. I personally think it is be easy enough so that you have extra more interesting to progress, but not brain cells available for expression, good everyone feels this way. It is the same with Play music that is easier tone and intonation, as well as just getting runners: some become interested in im- than the most difficult the right notes. Also, everything is harder proving their abilities and work toward music you can get through to play in the case of nerves or other dis- running a race, while others just want to tractions. run three miles a day forever. They have in rehearsal. Choose interesting music regardless of different goals, viewpoints, interests. The difficulty. Rehearse enough to really know trouble arises when they try to train to- splinter group that meets on another your part and the piece(s) as a whole, and gether—it just won’t work. night. These people can stay in the good to be able to play in tune with good tone, The same is true with an ensemble. If old group, but they will now have an op- and with expression—spirit, beauty, Emma, Hyacinth and Robert take lessons, portunity to forge ahead. The old group and character. working for beautiful tone and faster fin- will be much more fun when everyone is gerwork, etc., but Roy and Cecilia just happy. Dividing work chug happily along playing adequately but A common ensemble problem arises not improving with the rest of the group, How to quit an ensemble without when one member feels that he/she is do- the ensemble will not function well. At blame or guilt ing all the work of choosing music, copy- There comes a time for all of us to move ing music, arranging rehearsals, getting re- on. Whatever your reason for deciding to freshments, etc. Try to make sure that leave a group, you should do so without these jobs are spread around among all the guilt. The main thing is to go gracefully, members. You can all take turns doing Courtly Music leaving a good memory rather than sour everything, or you may find that certain gossip. You don’t need to give any other people are better suited to certain tasks. Unlimited reason than that your interests are chang- In my quartet, one of us arranges our 800-2-RICHIE ing, or you want more of a challenge (or concert tours, one of us keeps track of the less of a challenge), or that you have be- money, two of us make new arrangements (800 274-2443) come too busy. Please don’t vent all your of music, one makes the program propos-
irritations and frustrations before leaving. als and so on, overlapping so that all the www.courtlymusic.com Even if you are going to form a group with jobs are spread around. I often end up be- "Everything for the recorder other people, just say that you are looking ing the rehearsal leader, choosing what to enthusiast, or those who for a group that performs more, or per- work on and keeping us on track during forms less, or meets less often or more of- rehearsals. Each time we get sidetracked would like to be." ten—fill in the blanks. You don’t need to talking about villas in Italy, it is my job to Fine wood and plastic recorders, sheet say, “You don’t play well enough for me.” say, “Speaking of Italy, we still have moun- music, method books, play-along CDs, Whatever your reason for leaving, there tains to climb in this music!” accessories, workshops. is a kind way to say it and an unkind way Frances Blaker
46 American Recorder CHAPTERS & CONSORTS ______Twelfth Night, Tico Tico, ______a French youth orchestra tour Two California chapters started the New stayed afterwards to clean up the kitchen A January workshop by Cléa Galhano Year by hosting Twelfth Night celebra- and hall, and even wipe silver. for the Mid-Peninsula Recorder Or- tions—the East Bay Recorder Society Sacramento’s March 9 concert by the chestra gave participants from all over the on January 5, and the Sacramento Camellia Camerata, entitled “In Imita- Bay Area “a romp through the thickets of Recorder Society on January 10. tion of Birds,” was an afternoon of English Latin rhythms,” according to MPRO For the EBRS celebration, guest con- Baroque music of Williams, Purcell, John President Stevie White. Music included ductor Shira Kammen chose Medieval and Loeillet of London, Farinel, Corelli and villancicos plus one unusually long tiento Renaissance music from the Iberian Barsanti. Members of the chamber ensem- by Renaissance composer Mateo Peninsula: upbeat and celebratory canti- ble are Gerry Greer, recorder; Billie Flecha—and also unusually complex, gas, villancicos and dance tunes. Partici- Hamilton, recorder and viola da gamba; with shifting time signatures and tempi. pants were reported humming the catchy Dorothy Orolin, viola da gamba; and Galhano was also recruited as a last- Spanish tunes for some time after the Alex Ives, harpsichord. minute replacement for the third member event. Elsewhere in California, San Diego’s of Wood’N’Flutes when Gertie Johnsson The SRS Feast and Revels utilized the Granada Consort gave a March 7 pro- could not travel due to a ruptured verte- talents of musicians, dancers, cooks and gram of “Music of Ireland,” featuring the bral disk. Galhano filled in on the trio’s storytellers. The sold-out event also relied music of Turlough O’Carolan (1670- concert on the day following the MPRO on many other hard workers who decorat- 1738) as arranged for recorders by Frank workshop—playing on a program that in- ed tables and walls, set out place cards, Quick. Playing with Quick were Ellen cluded Tico Tico, which she also chose as and set up ensemble playing areas—then Quick, Vanessa Evans and Ulla Sinz. the concluding selection of her workshop.
TheThe Fourth Fifth Annual Annual Summer Summer
JuneJune 2-8,1-7, 20022003 Concordia University • Austin, Texas Beginning, Intermediate and Advanced Studies in Recorder, Viola da Gamba, Early Harp, Reeds, Lute and Voice featuring Saskia Coolen Frances Blaker and Martha Bishop for information: Daniel Johnson - Workshop Director with other outstanding faculty including phone: 512-371-0099 • email: [email protected] Tom Zajac, Sara Funkhouser, Becky Baxter, or visit our website at www.toot.org Daniel Johnson, Bruce Brogdon and more.
March 2003 47 The February meeting of the Prince- ble choir with two solo intonations be- Amherst Early ton (NJ) Recorder Society had some tween. The reward at the end of the members playing, some dancing, and evening was performing the whole piece Music Festival some doing both. Sue Dupre, who teaches as a grand finale. and calls historic and traditional English At their January meeting, Winifred University of Connecticut at Storrs and American dances, gave a program of Jaeger led the Moss Bay (WA) Recorder July 27- Aug. 3 and Aug. 3-10, 2003 English country dances and dances from Society through five centuries of music— the Renaissance. from the 14th to 20th century, skipping Music of Iberia Ann McKinley led the Chicago (IL) the 19th century when the recorder had Chapter in February, tying the meeting’s fallen out of favor. Also absent was music and the Low topic to an exhibit at the Art Institute of of the 21st century, although it seemed Chicago: The Medici, Michelangelo, and the the group would be open to that option for Countries Art of Late Renaissance Florence. Music a future meeting. played included several madrigals by Across the lake in Seattle, composer Open to all early musicians and dancers Francesco Corteccia, court composer to Glen Shannon conducted a program of his Scholarships and Work-Study Available Cosimo I and Eleanora of Toledo, Spain. own music for the Seattle Recorder Soci- Corteccia wrote the pieces for the wedding ety. Included were the middle movement PROGRAMS: of Cosimo and Eleanora in 1539. McKin- from his Recorder Quartet No. 2, “Wander- ley also brought along settings by several lust,” winner of the 2001 Chicago Chapter 7/25-27 composers of the hymn Ave maris stella, in- Composition Contest; plus his “La Follia” Historic Harp Society Conference cluding one by Corteccia, and earlier sec- Variations for Recorder Orchestra, 14 varia- 7/27-8/3 ular pieces for contrast—a late-15th-cen- tions featuring different groupings within Virtuoso Recorder/Viol tury carnival song and a caccia from the the orchestra. For the Seattle meeting, he Historic Brass 14th century. also created a new 10-part recorder or- Torrejón's La Púrpura de la Rosa The entire evening was spent on a chestra version of his SATB arrangement recorder arrangement of R. Vaughan of Vivaldi’s L’Estro Armonico, utilizing 8/2-3 Williams’ Mass in G minor from 1922 soloists from sopranino to bass. He de- Music and Instrument Exhibition when Roger Morris returnee by special re- scribed it as “Shannon’s version of Bach’s 8/3-10 quest to visit the South Bay (CA) version of Vivaldi’s Opus 3, No. 11.” Baroque Academy Recorder Society in January. After the The American Recorder Orchestra Lute/Flute/Baroque Reeds/ first movement, scored for one choir, the of the West (AROW) of northern Califor- Medieval Program other four movements are scored for dou- nia and the Sacramento Recorder Soci- ety were only two of several groups that Concert Series - July 27 to August 10 played host to the Ensemble Flûtes à Bec de Lyon, a French youth recorder orches- RECORDER FACULTY: tra on tour in California during the last part of the month of February. Comprising Aldo Abreu Patricia Petersen 50 young people ranging in age from 12 to Letitia Berlin Wendy Powers 22, the orchestra also has a 20-person tour Frances Blaker Gwyn Roberts group that gave four concerts in San Fran- Saskia Coolen Pete Rose cisco, Sacramento and Grass Valley in Cal- Ellen Delahanty Paul Shipper ifornia. For the final performance, they Maria Diez-Canedo Han Tol were joined by AROW for an all-French Adam Gilbert John Tyson concert. During the 33 years of its exis- Valerie Horst Geert van Gele tence, the French orchestra and its young Judith Linsenberg Marion Verbruggen musicians have given over 400 concerts, Natalie Michaud Tom Zajac with 51 of them played in foreign coun- tries. CHAPTER NEWS Scholarship money is available Chapter newsletter editors and publicity for virtuoso level students to officers should send materials study with Pete Rose in the to the following addresses: Virtuoso Recorder Program. American Recorder, 7770 South High St., Centennial, CO 8012-31222. Join us! by e-mail
48 American Recorder COMPACT DISC
______REVIEWS ______A recorder Ball, and checking out Czech early music
AMORE, VENERE, TERSICORE: turn for a more specialized approach to challenges of both the oboe and recorder MUSIC OF THE SIXTEENTH this music, but this recording will be of in- works, possessing as he does a confident AND SEVENTEENTH CENTURIES. terest to anyone looking for an overview of technique and a focused tone that carries COLLEGIUM FLAUTO DOLCE: JIRÍ KOTOUC, the music of this period, or curious to hear well over the string accompaniment. The DIRECTOR. Nuova Era 7271 (Allegro). early music played by Czech performers. Adderbury Ensemble provides a 61:04. $17.84. The church recording is warm and well- sonorous, well-balanced accompaniment, This disc presents programming of a balanced. Texts are unfortunately not pro- and the wind quintet, though unnamed, sort not frequently encountered these vided. plays with excellent ensemble and style. days, made up as it is of music by 17 com- posers from five countries spanning a cen- ...this recording will be of interest to anyone looking for tury-and-a-half and using a variety of in- strumental combinations. The earliest an overview of the music of this period, or curious to music is from the Spanish Cancionero Mu- sical de Palacio (c.1500), while the latest is music by Adam Michna from a 1653 col- hear early music played by Czech performers. lection entitled Loutna ceská (The Bohemi- an Lute). In between comes music by little- CHRISTOPHER BALL. RECORDER The church recording gives good character known composers, such as Azzaiuolo and CONCERTO “THE PIPER OF to both the orchestral and chamber pieces. Calestani, mixed with such well-known DREAMS,” OBOE CONCERTO, Ball’s inventive, tuneful music will give pieces as “Greensleeves” and dances from SCENES FROM A COMEDY, PAGAN much pleasure, and his own detailed pro- Terpsichore by Praetorius. PIPER, PAN OVERHEARD. PAUL ARDEN- gram notes complement the music well. Despite the variety of sources, there is TAYLOR, REC & OBOE; THE ADDERBURY EN- a common thread throughout the pro- SEMBLE: CHRISTOPHER BALL, CONDUCTOR. THE KING’S PRIVATE MUSICK: gram in that most of the pieces are light Pavane Records (Qualiton) ADW 7404. ROYAL CONSORT MUSIC OF THE and dance-like in character. There is, too, 67:15. SEVENTEENTH CENTURY. BRISK a strong vocal component to the program, Christopher Ball is probably best- RECORDER QUARTET AMSTERDAM. frequently featuring singing in several known to recorder players for his record- Christophorus 77239 (Qualiton). 69:55. parts that provides a good touchstone in a ings with the Praetorius Consort, which $19.58. recital that is otherwise made up of he founded in 1972. He is also a clarinetist The Brisk Recorder Quartet of Amster- dances. The combination also serves nice- who played in the Hallé Orchestra under dam is one of those groups from the Low ly to illustrate one of the points made in Barbirolli as well as a conductor of orches- Countries that has over the past several Susanna Franchi’s notes: that the styles tras, such as that of the Royal Opera years demonstrated the immense poten- contained on this recording crossed many House, Covent Garden. This disc presents tial of the recorder ensemble. Although in boundaries, musical as well as geographic. several of his pieces for winds in various the past Brisk has frequently recorded Collegium Flauto Dolce is a Czech en- genres, providing a good overview of his with guest artists, here the ensemble per- semble. Despite the name, recorders ap- warm, witty composing style. forms alone in music from the 17th-cen- pear on only a handful of the 37 tracks of The Recorder Concerto and Oboe Con- tury English court. the album, but the dozen performers have certo are in the English pastoral tradition, Gabriele Hilsheimer’s extensive notes between them enough expertise to do a but show many individual touches and a are helpful in relating the works of Jenk- creditable job of all the instrumental com- sure handling of form. This is especially ins, Locke, Lupo, Coprario, Orlando Gib- binations featured here, including such important in the Recorder Concerto, which bons, Alfonso Ferrabosco II, and Henry frequently- abused instrumental colors as is a substantial piece of almost half an Purcell to each other and to the broad so- the crumhorn and percussion. Like the hour in duration. The two short works for cial and musical currents of the time. Al- programming, the playing is somewhat recorder alone, Pagan Piper and Pan Over- though this music was probably intended old-fashioned (for instance, grace-type or- heard, have something of the quality of so- primarily for viol, it fits well on recorder, naments predominate over divisions), but lo flute works of the 20th century, such as especially in the capable hands of Brisk’s there is generally a lightness and expres- Debussy’s Syrinx, while the Scenes from a four members—Marjan Banis, Bert siveness to the playing and singing that is Comedy make up a bright and enjoyable Honig, Alide Verheij, and Jantien Wester- quite attractive. suite of well-contrasted pieces. veld—who perform with their usual sup- There are many groups to which to Soloist Arden-Taylor rises well to the ple control and unity of ensemble. Even
March 2003 49 such challenging textures as the suites of of the Middle Ages and Renaissance. On TRIO ATLANTICA. TRIO ATLANTICA. Matthew Locke, with their dominating tre- this recording, dedicated to the memory (ARS CD Club), 2000, 1 CD, 48:28, $17. ble parts, are given a persuasively integrat- of recorder maker Frederick Morgan, The Trio Atlantica consists of recorder ed performance here. Part of the group’s Boeke fearlessly plays 10- to 20-minute player Lisette Kielson, gambist Julie El- secret lies in carefully considered scorings, long selections of chant and works by the hard, and harpsichordist Paul Boehnke. using as they do a total of 11 different in- Minnesinger Frauenlob, Machaut, and The ensemble is based in the U.S., but the struments in the course of the program. lesser-known 14th-century Italian com- three musicians met during their studies There is a certain similarity of style in posers. His intention is to draw the listen- at The Royal Conservatory of The Hague this repertoire, of course, especially when er into the sound world of this music, di- in The Netherlands. The mixed program played on a single family of instruments. vorcing it even from its text in order to em- of works from the Baroque they present But listening carefully to the recording, es- phasize its musical structure. Obviously, here nicely showcases the group’s talents. pecially with program notes in hand, this is not a recording for the casual listen- The disc contains some well-known serves to clarify the subtle differences in er. But for those willing to devote their full music by Telemann (Trio in F major for style that separate Coprario’s Renais- attention to Boeke, it is a rewarding expe- recorder, viola da gamba, and continuo) sance-style fantasias from Locke’s proto- rience filled with some highly-skilled and Bach (Sonata in G major, BWV 1039), Baroque suites and Purcell’s private and recorder playing. along with lesser-known fare by Monté- very individual essays in the fantasia style. Steinmann’s recording is more imme- clair (Second Concert for recorder and con- The group is recorded in a flattering diately accessible, filled as it is with virtu- tinuo) and Leclair (Sonata No. 8 for acoustic that allows the individual voices osic explorations of the tonal possibilities recorder, viola da gamba, and continuo). in the ensemble to be heard clearly while of a variety of instruments, including the The program is rounded out with the B giving the whole a suitably resonant set- ancient aulos, the fischiott (a folk double major Prelude and Fugue from the first ting. recorder), and the colorful “undertone book of The Well-Tempered Clavier of Bach. flute,” as well as recorders by Bob Marvin Throughout this range of styles, the MONODIA. KEES BOEKE, RECORDERS. and Paul Reichlin. Each work on the al- Trio shows a musical sense of shaping and Stradivarius STR 33570 (Allegro). 74.36. bum bears the stamp of Steinmann’s live- a unified ensemble, particularly in the dif- ECHO. CONRAD STEINMANN, RECORDERS. ficult Bach sonata, which is played here on Divox CDX 25241-2. 59:20. voice flute and gamba with harpsichord Two of the most important recorder Two of the most important continuo. Recorder player Kielson has a players of our time have released adven- recorder players of our bright, controlled tone that leads the en- turous recordings of music for recorder time have released semble well, especially in the Montéclair alone. Kees Boeke presents a survey of adventurous recordings of in which hers is the solo part. Elhard monophony, starting with a ninth-century moves easily between her roles as soloist tractus and culminating with the well- music for recorder alone. and continuo player, while Boehnke also known 14th-century istampitta, Belicha. supports well as a continuo player and Conrad Steinmann reaches even farther ly imagination and his passion for the mu- gives a thoughtful performance of the back into history for his inspiration, play- sic of ancient times (including one short Bach solo. While not as obviously virtu- ing Greek music as old as the second cen- work of his own, Hiérax I, which he plays osic in their expression as some groups, tury, as well as traditional music and some twice!). Eliciting a wide variety of tones Trio Atlantica presents here a musical and of his own compositions. and textures from his instruments, Stein- enjoyable recital. For some time now, Boeke has exhibit- mann grabs the listener’s attention and The recorded sound captures the ed an interest in the most abstract music holds it, even in a 23-minute performance church acoustic well and balances the of the 14th-century anonymous Cheru- three instruments effectively. The brief bidon. anonymous program notes give details Unfortunately, the notes to both about the Trio and its members, but do not recordings are very meager in light of the deal with the music. unusual nature of the programs. Boeke Scott Paterson provides a brief description of each work he plays, but nothing like the plethora of insights and theories one knows he could Honeysuckle Music provide. Steinmann’s disc offers some Each CD review contains a header with some or all of the philosophical reflections by Paul Bichsel, following information, as available: disc title; composer but no information beyond the barest facts (multiple composers indicated in review text); name(s) Recorders & accessories in relation to the instruments or music. of ensemble, conductor, performer(s); label and catalog ... number (distributor may be indicated in order to help These lapses should not dissuade anyone your local record store place a special order; some discs Music for recorders & viols who might have the inclination from ex- available through the ARS CD Club are so designated); ploring these recordings, however. After year of issue; total timing; suggested retail price. Many CDs are available through such online sellers as Jean Allison Olson all, the message is in music itself, which in
50 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), postage and handling included. An updated listing of all available CDs may be found at the ARS web site:
IN STOCK (Partial listing) ____THE GREAT EMU WAR Batalla Famossa, an ensemble of young players records the first CD of ____THE AGE OF JOSQUIN:THE GRAND TOUR diverse Australian recorder music. Orpheus Music. Highland Park Recorder Society & Chamber $17 ARS/$20 others. Orchestra, Robert W. Butts, conductor. ____HANDEL:THE ITALIAN YEARS Elissa RWB Productions. $17 ARS/$20 others. Berardi, recorder & Baroque flute; Julianne Baird, ____ BACH & HANDEL: BAROQUE MASTERS soprano; Philomel Baroque Orchestra. Handel, Nel ____SONGS IN THE GROUND Cléa Galhano, Carolina Baroque. Dale Higbee, recorders. dolce dell’oblio & Tra le fiamme, two important recorder, Vivian Montgomery, harpsichord. Works by Recorded in concert in 2002, this delightful CD pieces for obbligato recorder & soprano; Telemann, Pandolfi, Belanzanni, Vitali, Bach and contemporaries offers a various selections by Bach and Handel Trio in F; Vivaldi, All’ombra di sospetto. Dorian. $17 Thomas, Morrison and Setti, featuring songs based including excerpts from several of the masters' ARS/$20 others. on grounds. 10,000 Lakes. $17 ARS/$20 others. operas and cantatas. $17 ARS/$20 others. ® ____IMAGINE II David Young, recorders. More con- SUZUKI RECORDER SCHOOL (Four vols.) ____BLOCKFLÖTENENSEMBLE WIEN ® temporary interpretations of classic songs from the Recordings to accompany the Suzuki Recorder Irmtraut Freiberg, Karin Heinisch, Susanne Jurdak, 1970s by Neil Young, Jim Croce, Carole King, and School method books, with Marion Verbruggen, Eva Maria Kaukal & Prisca Loeffler, recorders. Moody Blues. Universe Music. $17 ARS/$20 others. recorders. $17 ARS/$20 others, for each single CD, or Ensemble music for three-five players (sopranino ® ____JOURNEY Wood’N’Flutes (Vicki Boeckman, $33 ARS/$40 others for any two Suzuki CDs: in g” to great-bass in F); compositions by J.Chr. Gertie Johnsson & Pia Brinch Jensen, recorders). ____Vols. 1 & 2 for Soprano or Demantius, J. Hilton, M. Kaeser, Monteverdi, Seven centuries of recorder—the Middle Ages to Morley, Mozart, W. W. van Nieuwkerk, Pachelbel, ____Vols. 1 & 2 for Alto the present; works by Dufay, Machaut, Henry VIII, Reichardt, Schermann. $17 ARS/$20 others. (Vols. 1 & 2: folk & children’s songs, Baroque dances) Mogens Pederson, W.W.Van Nieuwkerk & Maute. ____CHARLESTON PRO MUSICA ON TOUR ____Vols. 3 & 4 for Soprano: Handel, de la Guerre, others Kadanza Classics. $17 ARS/$20 others. Marsha Evans, Lewis Fitch & others, recorders, ____Vols. 3 & 4 for Alto: Handel, J.S. Bach, Purcell, others ____LANDSCAPES David Bellugi, recorders; Ali gemshorns, guitar and voice. Medieval and Tajbakhsh and Chris Hayward, percussion. “Virtual” ____TELEMANN ALLA POLACCA REBEL with Renaissance music with consort and singers. orchestra of recorders created single-handedly by Matthias Maute, recorders & traverso, play concerti Millennium Music/ Charleston SC. $17 ARS/$20 others. Bellugi. Three centuries of ethnic music by Encina, and suites by G.P.Telemann. . $17 ARS/$20 others. ____AIRES AND DUETS FOR TWO FLUTES AND Brouwer, Ortiz, Bartok. Frame. $17 ARS/$20 others. ____TELEMANN: CHAMBER CANTATAS AND BASS Vicki Boeckman & Dorte Lester Nauta, ____LES AMIS DU BAROQUE Paul Nauta, TRIO SONATAS Judith Linsenberg, recorders; recorder; Mogens Rasmussen, viola da gamba; Viggo recorder/Baroque flute; Koen Dieltiens, recorder; Jan Christine Brandes, soprano, Jennifer Lane, mezzo- Mangor, archlute & chamber organ. Trio sonatas by de Winne, Baroque flute; Christina Mahler, ‘cello; soprano, members of Musica Pacifica. Five cantatas Handel, Telemann, G. B. Braun, Merula, S. Rossi. Shalev Ad-El, harpsichord/organ. Ensemble in CD from Harmonischer Gottesdienst (soprano, recorder Primavera. $17 ARS/$20 others. title plays music by Bassani, Corelli, Vivaldi, etc. & continuo, or mezzo-soprano, violin & continuo); plus ____ CHRISTMAS AT THE CASTLE Blue Oak Highlight Intl. $17 ARS/$20 others. two trio sonatas from Sonatas Corellisantes (in the Consort and guests, Richard Geisler, director. Five ____MANCINI: CONCERTI DI CAMERA Judith style of Corelli). Dorian. $17 ARS/$20 others. centuries of holiday music from many lands; a Linsenberg, recorders; and Musica Pacifica. Seven ____TRIO ATLANTICA Lisette Kielson, recorders; Christmas concert set in a castle, played and sung sonatas by Mancini, plus works from his contempo- Julie Elhard, viola da gamba, Paul Boehnke, harpsi- by 17 musicians on recorders, strings, percussion raries Durante and D. Scarlatti. “Highly recom- chord. Works by Bach, Telemann, Montéclair, Leclair. and voice. $17 ARS/$20 others. mended” citation from the 2000 Vivaldi Prize for Trio Atlantica. $17 ARS/$20 others. ____CONCERTI DI NAPOLI Rebel: Matthias Maute, Recordings of Italian Early Music—Giorgio Cini ____ VIVA VOCE! TWO MINI-OPERAS BY HAN- recorders; Jörg-Michael Schwarz & Karen Marie Foundation, Venice. Dorian. $17 ARS/$20 others. DEL (2-CD set, live recording) Carolina Baroque. Marmer, violin; John Moran, ‘cello; Dongsok Shin, ____MIDNIGHT SUN Alison Melville & Colin Savage, Dale Higbee, recorders. Acis and Galatea & Apollo harpsichord. Sonatas by Mancini, Roberto Valentini, recorders; Ensemble Polaris members playing flute, and Daphne are "two of the most charming works A. Scarlatti. Dorian. $17 ARS/$20 others. clarinet, guitar, ‘cello, hurdy-gurdy, percussion. New from the Baroque era."—American Recorder. ____DREAMS INSIDE THE AIR TUNNEL arrangements of traditional music of Norway, Finland, $24 ARS/$28 others. Zana Clarke, recorder & composer. “Drawing on Estonia, Sweden, Scotland. Classic CD Disc of the the music of the didjeridu & shakuhachi...beautiful Please indicate above the CDs you wish to order, Month, August 2000. Dorian. $17 ARS/$20 others. & hypnotic...”—American Recorder. Orpheus and print clearly the following: ____MY THING IS MY OWN: BAWDY MUSIC OF Music. $17 ARS/$20 others. THOMAS D’URFEY Tina Chancey, Grant Herreid Name ______FLEMISH CONTEMPORARY RECORDER & Scott Reiss, recorders & other early instruments; Daytime phone: (_____) ______MUSIC Geert Van Gele, recorder. Former Flanders Rosa Lamoreaux, soprano. Common tunes of love, Address: ______Quartet member records his first solo CD “live,” sex & seduction in 18th-century England, collected with support from the Flemish Government. Works City/State/Zip: ______by D’Urfey in “Pills to Purge Melancholy,” used in by JanPieter Biesemans, Boudewijn Buckinx, improvisations. Koch Int’l. $17 ARS/$20 others. Check enclosed for Frans Geysen, & Jan Van Landeghem. Qualiton. ____POPULAR MUSIC OF THE RENAISSANCE, _____ single CDs x $____ = $______$17 ARS/$20 others. Anne & Rob Burns (A Reasonable Facsimile) play _____ 2-CD sets x $____ = $______FOLIAS FESTIVAS Belladonna Baroque recorders, shawm, cittern, Renaissance guitar, straw TOTAL = $______Quartet. Margaret Humphrey, Baroque violin; Cléa fiddle, and a variety of drums, whistles, and pipes. Please charge the above amount to my MasterCard Galhano, recorders; Rececca Humphrey, Baroque Second From the Bottom. $17 ARS/$20 others. or Visa: 'cello; Barbara Weiss, harpsichord. Music from the ____A. SCARLATTI: CONCERTI DI CAMERA Judith 16th and 17th centuries by Falconieri, de Tafalla, #______Exp. Date: _____ Linsenberg, recorders; with other members of Musica Merula and others. Dorian. $17 ARS/$20 others. Cardholder’s signature:______Pacifica. Seven sonatas for various instrumentations. ____FRUIT OF A DIFFERENT VINE Alison $17 ARS/$20 others. Melville, Natalie Michaud & Colin Savage, ____SHINE AND SHADE Piers Adams, recorder; recorders; A. Hall, piano. Works by Berkeley, Mail to: AMERICAN RECORDER SOCIETY, Julian Rhodes, harpsichord. Works of Norman Fulton, Genzmer, Hindemith, Leigh, Staeps. Supported by Box 631, Littleton, CO 80160-0631, U.S.A. Edmund Rubbra, York Bowen, Lennox Berkeley, the 1994 ARS Professional Recording Grant. S.R.I. You may fax or call in your credit card order Edward Gregson, Stephen Dodgson, Donald Swann. $17 ARS/$20 others. to 303-347-1181. $17 ARS/$20 others.
March 2003 51 SUMMER CONSIDER ADVERTISING IN WORKSHOPS (cont.) ______CLASSIFIED ______July 18-27 35th International Early ______Music Course, Urbino, Italy. All levels ______Full page ...... $540 and most early instruments, plus dance; 2/3 page ...... $400 1/2 page ...... $330 free afternoon courses, iconography sem- 1/3 page ...... $255 inar and instrument exhibition. Recorder 1/4 page ...... $200 faculty include John Tyson and Daniel Where the haves 1/6 page ...... $155 1/8 page ...... $115 Brüggen. Info: Italian Foundation for Ear- and have-nots 1/12 page ...... $ 85 ly Music, 39-06-3210806 voice and fax, of the recorder world 1 column inch ...... $ 50
52 American Recorder