Editor's Note

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EDITOR’S NOTE ______Volume XLI, Number 5 November 2000

The initial ARS Newsletter, dated January 20, 1950, was edited by Bernard Krainis. FEATURES He announced: “With this first issue ...the Putting Recorders and Their Players to the Test...... 9 American Recorder Society inaugurates a The process of evaluating a recorder can be a policy, long awaited and hopefully dis- trial by fire for the player as well as for the instrument, cussed, of presenting a fairly regular peri- by Dale Taylor odical devoted exclusively to the interests of the growing number of recorder players 6 Remembering Bernard Krainis, 1924-2000 ...... 14 throughout the United States.” Colleagues and students remember the impact the virtuoso Even in the exact and original use of the had on their lives and on American recorder playing word “hopefully,” not to mention the cau- tious commitment on delivery, it is easy to DEPARTMENTS observe the personal integrity of this pri- Advertiser Index ...... 40 mordial figure in American recorder play- Book Reviews ...... 20 ing. Among my many warm memories of Bernie (including an exciting, exacting 9 Chapters & Consorts ...... 19 workshop with him at New England Con- Classified ...... 40 servatory and many, many sessions in the Music Reviews...... 25 mid-1970s discussing his concern for ARS) On the Cutting Edge...... 33 is one afternoon at the exhibition of the Boston Early Music Festival going around Opening Measures ...... 35 from maker to maker and borrowing re- President’s Message ...... 3 corders to try out in the sound-proof Q & A ...... 31 booth. In these situations, everyone has a 35 favorite selection, something that will Recorders on Disc ...... 23 bring out special qualities in an instru- Response ...... 36 ment, or a phrase or two that may point up ON THE COVER: Tidings ...... 4 an instrument’s inadequacies without re- “Mystical Mask” Student Programs in Indiana and Brazil vealing one’s own. (My favorite is “It’s by Cherry White and Apple Blossom Time,” Leland Chapin Recorder Moonstrels at Lincoln Center starting its F major arpeggio on C and con- © 2000 Recorder and Viol Workshop for Seniors tinuing a little later with a series of halting Focus on ARS Business Members high Fs teased out of the air.) I was re- minded of that day by Dale Taylor’s article in this issue, proposing a somewhat daunt- BENJAMIN S. DUNHAM, Editor ing series of musical excerpts appropriate for assessing the voicing of recorders. I Contributing Editors don’t remember what passages Bernie FRANCES BLAKER, Beginners; SCOTT PATERSON, Book Reviews played that afternoon, but it would take a CAROLYN PESKIN, Q & A; CONSTANCE M. PRIMUS, Music Reviews virtuoso of his supreme level to risk, in a EUGENE REICHENTHAL, Education; PETE ROSE, 20th-Century Performance GILLIAN KAHN, Design Consultant public venue, the wicked arpeggios from the Vivaldi C minor concerto suggested by Advisory Board Mr. Taylor (page 9)! Martha Bixler • Valerie Horst • David Lasocki Because of the special material in mem- Bob Marvin • Howard Schott • Thomas Prescott • Catherine Turocy ory of Bernard Krainis (page 14), the digest Kenneth Wollitz of remarks made at the Berkeley Festival by a panel of professional recorder players has Copyright © 2000 American Recorder Society, Inc. Printed in U.S.A. been postponed until the January issue. American Recorder (ISSN: 0003-0724), 5554 S. Prince, Suite 128, Littleton, CO 80120, is published bimonthly (January, March, May, September, and November) for its members by the American Recorder Society, Inc. $20 of the annual $40 U.S. membership dues in the American Recorder Society is for a The panel was moderated by Martha subscription to American Recorder. Articles, reviews, and letters to the editor reflect the viewpoint of their individual authors. Their appearance in this magazine does not imply official endorsement by the ARS. Submission of articles and photographs is welcomed. Articles may be typed or submitted on PC discs Bixler; in compensation, we have Martha’s (WordPerfect 5.1, Word for Windows, or RTF preferred) or as an attachment to an e-mail message. They should be for the exclusive consideration of AR, unless remembrance of Bernie, adapted from the otherwise noted. Photographs may be sent as color or black-and-white prints, or 300-dpi, zipped TIFF images. Editorial office: Benjamin S. Dunham, Editor, American Recorder, 472 Point Rd., Marion, MA 02738; 508-748-1750 (business hours), 508-748-1928 (fax); [email protected]. Deadlines for editorial material: November 15 (January), January 15 (March), March 15 (May), July 15 (September), and Early Music Newsletter of the New York Re- September 15 (November). Books for review: Scott Paterson, 77 Queensbury Ave., Scarborough, ON M1N 2X8, Canada. Music for review: Constance M. Primus, Box 608, Georgetown, CO 80444. Recordings for review: Editorial office. Cutting Edge: Pete Rose, 13 Rutgers St., Maplewood, NJ 07040; corder Guild. [email protected]. Chapter newsletters and other reports: Editorial office. Advertising: Editorial office. Advertising Closings: December 1 (January), February 1 (March), April 1 (May), August 1 (September), and October 1 (November). Postmaster: Send address changes to American Recorder Benjamin Dunham Society, Box 631, Littleton, CO 80160-0631. Periodicals postage paid at Littleton, CO, and at an additional mailing office. ARNov00up.qxd 11/7/00 3:52 PM Page 2

ARS Chapters

ALABAMA ILLINOIS Ithaca/Finger Lakes: Birmingham: Martin K. Payne Chicago: Patrick O’Malley Mary Jaffe (607/273-1897) (205/979-6430) (773/293-3138) New York City: Michael Zumoff Central Alabama: Mark E. Waldo West Suburban: Eric Stern (212/662-2946) AMERICAN (334/263-1727) (708/594-9243) Long Island: Margaret H. Brown INDIANA (516/765-1867) RECORDER ARIZONA Rochester: Ginny Reynolds Indianapolis: Alberta Richmond Phoenix: Donald Harrington (716/473-2946) (317/873-2930) SOCIETY (602/956-1344) Rockland: Lorraine Schiller INC. Tucson: Scott Mason (520/721-0846) KANSAS (914/429-8340) ARKANSAS L&L Early Music Ensemble: Liz Low Westchester: Carol B. Leibman (913/727-3554) Honorary President Aeolus Konsort: Louisa Rollefson (914/241-3381) ERICH KATZ (1900-1973) (501/225-4846) LOUISIANA NORTH CAROLINA Honorary Vice President Bella Vista: Charles D. Whitford Baton Rouge: John Waite Triad: Donna Yaniglos (336/292-9995) WINIFRED JAEGER (501/855-3623) (504/925-0502) Triangle: Cindy Osborne (919/851-1080) New Orleans: Chris Alderman Statement of Purpose CALIFORNIA (504/862-0969) OHIO The mission of the American Recorder Society is Central Coast: Elizabeth Blake Greater Cleveland: Edith Yerger MARYLAND (805/534-9414) (440/826-0716) to promote the recorder and its music by Northern Maryland: Dawn Culbertson East Bay: Glen Shannon Toledo: Marilyn Perlmutter developing resources and standards for the (510/525-1249) (410/825-1379) study and playing of the recorder by people of (419/531-6259) Monterey Bay: Lorrie Emery MASSACHUSETTS (831/423-8309) all ages and ability levels, presenting the Boston: Charles Wibiralske OREGON Orange County: Doris Leffingwell instrument to new constituencies, encouraging (617/739-9651) Oregon Coast: Corlu Collier (949/494-9675) increased career opportunities for professional Worcester Hills: Jennifer Southcott (541/265-5910) Riverside: Elizabeth P. Zuehlke recorder performers and teachers, and enabling (978/263-5875) (310/376-2669) PENNSYLVANIA and supporting recorder playing as a shared Sacramento: Ronald Koetzsch MICHIGAN Philadelphia: Dody Magaziner social experience. Besides this journal, (916/965-1341) Ann Arbor: Ole Lundin (610/886-2241) ARS publishes a newsletter, a personal study San Diego County: Carol Resnick 734/668-4842 Joanne Ford (215/844-8054) program, a directory, and special musical (619/466-7983) Kalamazoo: Richard Johnson Pittsburgh: Karen Lukas (616/657-3460) (412/731-7411) editions. Society members gather and play Sonoma County: Stanley McDaniel (707/571-8295) Metropolitan Detroit: Ronald Hertz South Central: Rick Graham together at chapter meetings, weekend and (248/548-6823) South Bay: Joanna Woodrow (717/854-6415) summer workshops, and many ARS-sponsored Muskegon: Marge Winter (408/266-3993) (231/744-1703) RHODE ISLAND events throughout the year. In 2000, the Society Southern California: Nell Holland entered its seventh decade of service to its Rhode Island: Will Ayton (310/978-0924) MINNESOTA (401/272-1998) constituents. Village Festival Recorder Orchestra: Twin Cities: Jean Fagerstrom Richard Geisler (530/477-2293) (612/722-4967) TENNESSEE Board of Directors Greater Knoxville: Ann Stierli John Nelson, President; Chair, Education COLORADO MISSOURI (423/637-6179) St. Louis: Norman Stoecker Richard Carbone, Vice President Boulder: Robert Keep (303/651-2659) Nashville: Marcus Mendenhall (314/532-3255) Sheila M. Fernekes, Secretary Colorado Springs: Richard Wood (615/383-7078) (719/591-0548) NEVADA Howard Gay, Treasurer; Chair, Finance TEXAS Denver: Keith Emerson (303/750-8460) Sierra Early Music Society: Toni Seales Ruth Albert, Chair, Fund-Raising Austin: Susan Page (512/467-7520) Fort Collins: Jann Benson 775/867-4695 Rebecca Arkenberg (970/484-3522) Dallas: Bill Patterson (214/696-4892) Martha Bixler, Editor, Members’ Library NEW HAMPSHIRE Houston: Marianne Boshuizen CONNECTICUT Frances Feldon, Chair, Publications Monadnock: Priscilla Watson (281/293-9289) Connecticut: Dorothy Vining Cléa Galhano, Chair (603/357-8549) Rio Grande: Suzanne Blanchard (203/267-6513) Upper Valley: Eileen Rawnsley (505/521-1725) Special Events/Professional Outreach Eastern Connecticut: Joyce Goldberg (603/643-5706) Alan Karass, Chair, Chapters & Consorts (860/442-8490) VERMONT Carolyn Peskin, Chair, Scholarship NEW JERSEY Upper Valley: Eileen Rawnsley DISTRICT OF COLUMBIA Bergen County: Mary Comins Sue Roessel (603/643-5706) Washington: Jayme A. Sokolow (201/489-5695) János Ungváry, Chair, Junior Recorder Society (301/933-3989) Highland Park: Donna Messer VIRGINIA Priscilla Winslow, Counsel (732/828-7421) Northern Virginia: Edward Friedler DELAWARE Navesink: Lori Goldschmidt (703/425-1324) Staff Brandywine: Roger Matsumoto (732/747-4813) WASHINGTON Gail Nickless, Executive Director (302/731-1430) Princeton: Carol Hoffman-Sweeten Moss Bay: Norma Baxter (425/641-1728) Karen Voigt, Exec. Asst./Membership Secr. FLORIDA (609/466-4685) Somerset Hills: Pattrick Littel Seattle: Bill Stickney Gainesville: Russell D. Moore P. O. Box 631 (908/788-5566) (206/362-8062) Littleton, CO 80160-0631, U.S.A. (352/378-0567) Miami: Pat Coons (305/598-7201) WISCONSIN 303-347-1120 NEW MEXICO Sarasota: Valerie Sizemore Albuquerque: Bryan Bingham Milwaukee: Pat Brankle Faxes & membership question hot line: (941/484-9589) (505/299-0052) (414/542-4551) 303-347-1181 Rio Grande: Suzanne Blanchard Southern Wisconsin: Margaret Asquith E-mail: [email protected] GEORGIA (505/521-1725) (608/233-4441) Web: http://ourworld.compuserve.com/ Atlanta: Glenn Middleton Santa Fe: Jane Miller (505/984-0851) (770/448-7168) CANADA homepages/recorder NEW YORK Toronto: Alison Healing (905/648-6964) HAWAII In accordance with the Internal Revenue Service Taxpayer Bill of Rights 2, Buffalo: Charles Hall Montreal: Diane Koch (514/672-8308) passed by the United States Congress in 1996, the American Recorder Hawaii: Irene Sakimoto (716/835-5573) Society makes freely available through its web site financial and (808/734-5909) Hudson Mohawk: Emmy Grubb incorporation documents complying with that regulation. Please contact the ARS office Big Island: Diane Mallory (808/966-4442) (518/377-1532) to update chapter listings.

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PRESIDENT’S SCHOLARSHIPS ______MESSAGE for Recorder Players to attend ______recorder/early music weekend ______workshops throughout the year. ______Apply two months before funding is needed. Greetings Weekend workshop scholarships are made possible by memorial funds set up to honor Jennifer Wedgwood Lehmann REETINGS from Atlanta. At the meeting for one reason—lack and Margaret DeMarsh. G of the Board in September, I was giv- of funds. en the somewhat intimidating task of serv- The American Re- A M E R I C A N ing as your President for the next two years. corder Society is not all R E C O R D E R I am following in the footsteps of some re- that much different from any other arts S O C I E T Y ally great people. It was my pleasure over group or nonprofit organization. Member- Box 631, Littleton CO 80160-0631, U.S.A. the last two years to work with Gene Mur- ship dues only cover a portion of the ex- 303/347-1120 * e-mail row, and I wish to express to him my ap- penses incurred in running an organiza- [email protected] preciation for all that he has done for the tion such as ours. As your Board looks for- the organization for recorder players since 1939 Society during his six years as president. ward to the next century, particularly as we His many President’s Messages are going begin to implement the goals of the long- to be a hard act to follow. range plan prepared in conjunction with For my part, over the next couple of is- the A.R.S. Nova 2000 campaign, it be- sues of AR, I will be introducing myself to comes increasingly important that all of us The Gift of the 98 percent of you out there who are do our part. now saying, “Just who is this guy, any- (I can hear the groans now—here a Recorder... way?” comes the pitch. You bet, and I make no means even more when Here in Atlanta, we have what some apologies for it.) accompanied by a gift people might think of as a burgeoning arts When I joined the Board two years ago, membership in the community: a major symphony and sever- it was made clear to me that I was expect- American Recorder Society. al regional orchestras; one of the oldest ed to support the President’s Appeal. I do, This coming season, make cer- ballet companies in the country, along most willingly. As your newly-elected Pres- tain your gift of music is enjoyed with a number of other local modern and ident, I am asking you—all of you—to join to the fullest by sending along a classical ballet troupes; an opera company, with me and the Board in supporting, as membership that entitles your friend, spouse, parent, or child to after a number of failed predecessors (in generously as you can, our efforts to pro- receive five issues of American one of which I was a part of the chorus); a vide more and better services. As a leader Recorder, a directory of recorder lively theater scene, a pretty fine art gallery, in the world recorder community, it is im- players throughout the U.S. and and a college/university presence that pro- portant not only that the ARS continue to the world, discounts on CDs, vides many venues for the arts. I am neither offer these services to our members, but music, and some summer work- bragging nor complaining. I just feel that we be able to dream of more outreach shops, mailings about events and blessed, after spending a lot of my life in to those who haven’t yet joined this re- products of special interest, and places where opportunities for this kind of corder community or perhaps even found much more. cultural exposure were somewhere be- the enrichment available through the re- Include name, address, and tween rare and non-existent, to have what corder. To do that, we need instructional phone number of both recipient amounts to an “embarrassment of riches.” videos, a recorder conference, and all of and donor along with your check For all of this, I am sure that any of you the other things that will help us become for U.S. $40 who have been involved with the arts on ei- the kind of organization you would have (U.S./Canadian ther a professional or amateur level are well us be. membership) made out to aware of the problem that all arts groups We don’t do this often; I promise that I “ARS” and face these days. We do not, for good or ill, won’t mention the President’s Appeal send to ARS enjoy the same level of support by govern- again (for at least another year). Thanks Gift Member- ment that arts organizations in Europe for hearing me out. And thanks for your ship, Box 631, have. In fact, in my town, there is an ongo- support. Littleton, CO ing debate as to what role the government John Nelson 80160-0631. should have in the arts. Federal dollars are A signed drying up, and local monies have never ED. NOTE: A form for contributions to this card will been abundantly available anyway. Here in year’s President’s Appeal appears on the accompany Atlanta, we have seen the demise of local reverse side of the address sheet mailed your gift. theater groups and at least one art festival with this issue of American Recorder.

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______TIDINGS ______The level of the students at Indiana was high, and they ______enthusiastically shared their recorder experience, reinforcing the idea that being a recorder player is “cool,” in defiance of the “weird” label common in many schools. Students in Indiana and Brazil Benefit from Strong Programs

This summer I taught in two wonderful many schools. youth recorder workshops that proved to What pleasure to me once more that everything we do with see their eyes dedication and love turns out to be a mem- shining at discov- orable experience. ering new infor- The first one, Indiana University School mation and new of Music’s 2000 Recorder Academy, was ways to perform. wonderfully directed by the recorder play- The final concert er Marie-Louise Smith. She really thought showed their dedication and adventure. Students at the Fifth Recorder Meeting about each detail, even baking cookies in My second summer teaching was in at the Conservatory “Dr. José Zóccoli advance to give the students different Brazil at the Fifth Recorder Meeting of the de Andrade” in Minas Gerais, Brazil. treats each day. It was a very important part Music Conservatory “Dr. José Zóccoli de of the workshop. Andrade.” This school is one of the 12 free For two weeks, 15 talented students, conservatories in the state of Minas Gerais The Fifth Recorder Meeting was orga- age 13 to 18, intensively studied, explored (the “Golden” State from which, 500 years nized by department chair Rita Bertoni and and performed. The level of the students ago, the Portuguese took gold to repay a school director Denise Andrade de Freitas was high, and they enthusiastically shared debt to England). The recorder is a fea- Martins. Never before have I experienced their recorder experiences, reinforcing the tured instrument in the curriculum, and, performing in a specially decorated con- idea that being a recorder player is “cool,” like the Indiana University program, love cert space! Every detail was expertly orga- in defiance of the “weird” label common in and dedication were the key to its success. nized. The theater entrance was decorated with plastic recorders, painted the same colors as the stage. Everything seemed to Students at Indiana University’s Recorder Academy strike a typically “cool” pose. me unreal.... The next day, after another concert and master class with young soloists, students from the conservatories of the neighboring cities performed—about three hundred or so recorder players! The beautiful repertoire included Brazilian music arranged for recorder, with other instruments accompanying them. Singers also performed. My inspiration through these two experiences has been seeing young recorder players, in two different parts of the world, who have the same love and passion for the instrument. The directors of the events are indeed men- tors, showing the same depth of dedication and love. No won- ders the Italians call the recorder flauta-dolce! Cléa Galhano PHOTO: PAUL J. MARTENS, INDIANA UNIVERSITY PHOTO: PAUL

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Bits & Pieces

Hesperus, the crossover ensemble led by recorderist Scott Reiss and his wife Tina Chancey, spent 10 days with Hill and Hol- low Music in Saranac, New York, as part of Chamber Music America’s Presenter- Community Residency Program. The program “awards grants to presenters in support of short-term residencies for chamber music ensembles, encouraging presenters to develop appreciative audiences within their communities.” The theme of the Hes- perus residency was “Early American Roots: Popular Instrumental Music of the Colonial and Federal Periods.” Participants at Amherst Early Music’s Columbus Day Weekend played a two- Recorder Moonstrels from DC and NYC Play choir piece for St. Michael’s Day by Praeto- At Lincoln Center Out-of-Doors Festival rius that faculty member Saskia Coolen associated with a 1640 painting by van Vliet. Eleven recorder players from the Wash- ed the plaza areas around Lincoln Center The painting shows a musical family ington Recorder Society and New York into seven lunar cities and envisioned a thought to be the van Dussens of Delft. Fa- Recorder Guild were part of Pauline Oliv- series of visits to the cities through time ther and son are holding recorders, and a eros’s Lunar Opera: Deep Listening and space. In the seven cities, the birth of piece of music thought to be in honor of St. for_Tunes, presented on August 17, a divine being was forecast, and the work Michael’s Day is on the stand. The painting 2000, at Lincoln Center in New York consisted of pilgrimages, homages, is coming to the Metropolitan Museum of City. blessings by the Drepung Loseling Art in the spring as part of an exhibition of The opera, a vast, all-day site work Monks, fortunes, and dreams surround- Vermeer and other Delft artists. commissioned by Lincoln Center to cel- ing this prediction. Bach and Handel are featured promi- ebrate Oliveros’s 50 years as composer, For five hours, like a flock of birds, the nently in the concerts to be presented by performer, and educator, involved 70 in- “Recorder Moonstrels,” organized and the Carolina Baroque in its 13th season, ternational performers, rock bands, led by WRS member and recorder led by Dale Higbee. The first program, on drummers, soothsayers, divas, and ac- teacher Carole Rogentine, moved be- November 26, will include “Songs and cordionists, including Ms. Oliveros’s tween the lunar cities improvising on the Sonatas of Handel.” Deep Listening Band and the Drepung headjoints of their recorders, providing Gambina Ensemble, led by Barbara Loseling Monks. sounds for creative movement, respond- Zuchowicz, has received an $8,500 The story-line, created by playwright- ing to a bubble blower, and making “Artists-in-Education” grant from the On- director Ione, was based on exercises car- sounds for children in strollers. tario Arts Council for a series of in-school ried out at a Deep Listening Retreat at As predicted, the Lunar Opera ended workshops that will involve students, staff, Rose Mountain Retreat Center in the with a birth, as the Recorder Moonstrels parents, and community in an exploration Sangre de Christo Mountains of New and other performers and musicians of Canadian music from the traditions of Mexico on a full-moon day, July 28, sounded, danced, and rejoiced. the founding nations of Canada. 1999. The “collaborative collage” divid- Carole Rogentine The 25th anniversary season of Philomel Baroque began October 13 in Doylestown, Pennsylvania, with a concert of virtuosic chamber music featuring recorder (Elissa Berardi) and oboe (Virginia Brewer). Trios by Pepusch, Telemann, Fux, and Vivaldi were complemented by a recorder capriccio by Angelo Berardi (!) and a cello sonata by Geminiani. Theme programs for the Harmonia Baroque Players’ 2000-2001 season include “Music for a Well-Tempered Audi- ence,” “If It Is Baroque, Don’t Fix It,” and “Images of Melancholy and Mirth.” Marika Frankl is the recorderist of the ensemble, which performs in Hermosa Beach, New- Mary Halverson Waldo (third from right) with her MacPhail Center Suzuki port Beach, and Pasadena, California. recorder students at the Suzuki Association of Minnesota ceremony in the spring.

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______TIDINGS ______

Music,” and “Penne from Heaven: Music Recorder & Viol Workshop for Seniors of the Italian Renaissance.” Moves to Worcester’s College of the Holy Cross The Worcester Hills Recorder Society Board of Directors hosted a coffee and Last year’s seniors workshop at Old Stur- Karass was the on-site coordinator. The dessert reception after the sumptuous bridge Village, attended by 36 partici- faculty included Marshall Barron, Grace Friday night dinner. The evening con- pants, took an important first step toward Feldman, Alan Karass, Lisle Kulbach, cluded with English country dancing offering more early music workshops spe- Bruce Larkin, and Jennifer Barron South- Saturday began with viol and recorder cially designed for seniors. cott. consorts and the recorders were divided The second annual Recorder and Viol The workshop began with introducto- by playing ability into smaller groups. Af- Workshop for Seniors, “A Musical Ban- ry remarks from Dr. James Hogan, direc- ter lunch, Brett Maguire, a third-year or- quet,” held at the College of the Holy tor of libraries at Holy Cross. Music activ- gan scholar at Holy Cross, presented a Cross in Worcester, Massachusetts, was ities began immediately, with Jennifer di- private recital/demonstration in the St. held over the weekend of June 30-July 2, recting a Big Band with the theme “A Joseph Memorial Chapel, performing 2000. Fifty participants attended, rang- Musical Banquet”—music of Schein, Bach, Buxtehude, and Böhm on a four- ing in age from 40 to 89. Participants trav- Dowland, Brade, and Purcell. The sound manual, tracker action Taylor & Boody eled from Massachusetts, Rhode Island, of almost 60 recorders and viols playing instrument tuned in Kirnberger III tem- Connecticut, New Hampshire, Vermont, together in the concert hall of the Brooks perament. It was modeled after the great New York, New Jersey, and Minnesota. Center for Music was breathtaking. 17th and 18th century organs of Holland The need for seniors’ workshops is clear- Morning classes were for viol and re- and North Germany and was officially ded- ly demonstrated by the fact that registra- corder consorts, and afternoon classes icated on J.S. Bach’s 300th birthday in tion increased from 36 to 50 this year, were devoted to mixed consorts. In keep- 1985. with a substantial waiting list. ing with the workshop theme, offerings The faculty presented a concert on The workshop was sponsored by The included “Tea and Crumpets: An After- Saturday evening, performing English Joy of Music Program, a member of the noon Sampling of the English Renais- country dances, works by Byrd, Mon- National Guild of Community Schools sance,” “Purcellery: Purcell Settings & teverdi, Vaughan Williams, and Purcell, a for the Arts, and The Worcester Hills Re- English Country Dance Settings,” “Chef Fantasia on Bitter Rue by Marshall Barron, corder Society, a chapter of the American Extraordinaire: Music of Holborne & and solo divisions on “Jenny Pluck Recorder Society. Jennifer Barron South- other Masters,” “A Taste of Monteverdi,” Pears,” also by Marshall Barron, brilliant- cott was the workshop director and Alan “Double-Dipped: Italian Double-Choir ly played by Grace Feldman on the treble viol. The concert concluded with “Turk- Participants at the seniors workshop at the College of Holy Cross, Worcester, MA. ish Delight,” a set of Turkish and Yugosla- vian folk dances. Sunday began pleasantly with temper- ate weather, no humidity, and Grace leading the viols in “Breakfast with the Byrds.” After a group photo session, participants dashed back inside for the concluding Big Band session—Grace direct- ing music of Holborne, Dufay, Senfl, Julius de Modena, and others. Several registrants remarked on how well the College worked as the site for a music workshop. Alan Karass and I are already collaborating as co-directors on plans for next year’s Recorder and Viol Workshop for Seniors. Jennifer Barron Southcott

For further information or to receive mailings about future workshops, please contact Jennifer Barron Southcott: JBSouth- [email protected], or call 978-263-5875.

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FOCUS ON ARS BUSINESS MEMBERS

AMERICAN ORFF-SCHULWERK ASSOC. Susato Press publishes recorder music and SCHOTT & CO., LTD. Cindi Wobig, Executive Director, P.O.Box methods, Native American music for recorder Judith Webb, Brunswick Rd., Ashford, Kent 391089, Cleveland, OH 44139; 440/543-5366; or flute, and numerous methods and music for TN23 1EH, England; 44-1233-628987 440/543-2687 (fax); [email protected]; folk instruments. Kelischek Workshop sells re- www.aosa.org corder music from many publishers, and re- SWEET PIPES INC. AOSA is a professional association of music corders and service for Moeck, Mollenhauer, Laura Bergin, 6722 Brentwood Stair Rd., Fort and movement educators whose purpose is to Zen-On, Aulos, and Yamaha brand instru- Worth, TX 76112; 800/446-1067 or 817/446- promote the teachings and philosophy of Carl ments. 3299; 800/576-7608 or 817/446-0484 (fax); Orff. The association has approximately 5,000 [email protected]; www.sweetpipes.com members and 84 local chapters, holds an annu- MAGNAMUSIC DISTRIBUTORS, INC. Publishers of recorder materials for students, al conference each November, and publishes Madeline Hunter, 74 Amenia Union Rd., teachers, and performers: method books, solos, The Orff Echo quarterly. Sharon, CT 06069; 860/364-5431; 860/364- ensembles, editions of early music, miscella- 5168 (fax); [email protected]; neous recorder items, and Aulos and Yamaha BOULDER EARLY MUSIC SHOP www.magnamusic.com quality plastic recorders. Ruth L. Harvey, 3200 Valmont Rd. #7, Boulder Importer/distributor of recorders, historical CO 80301; 800/499-1301; 303/449-9231; woodwind instruments, shakuhachi, and harp- TOYAMA MUSICAL INSTRUMENT CO., Ltd. 303/449-3819 (fax); [email protected]; sichords. Magnamusic holds one of the largest Takamura Toyama, 41, Oharacho, Itabashi-ku, www.bems.com inventories of early and contemporary sheet Tokyo 174, Japan; 81-3-3960-8305; (U.S. We sell Medieval, Renaissance, Baroque, and music available in the USA & Canada. Free agent: see Rhythm Band Instruments, Inc.) folk instruments, and sheet music, gift items, catalogs. Prompt, friendly service. Please refer accessories, books, CDs, and tapes. Store hours to our ad for a listing of manufacturer/publisher UNIVERSE MUSIC are Monday-Saturday, 10:30-5:30. We also offer information. David Young, 2633 Lincoln Blvd., Suite 328, prompt mail order service. 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[email protected] Dominik Zuchowicz builds most types of viol KELISCHEK WORKSHOP/ SUSATO PRESS and violin family instruments based on inter- Michael Kelischek, 199 Waldroup Rd., Information supplied by esting historical examples: e.g., seven-string Brasstown, NC 28902; 828/837-5833; business members responding. bass viols with carved backs after Tielke (Ham- 828/837-8755 (fax); [email protected]; burg), classical cellos after Montagnana www.susato.com (Venice), and violones in several styles.

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PUTTING RECORDERS AND THEIR PLAYERS TO THE TEST

An experienced recorder RECORDER REPAIRMAN must be able to the cut-up (the distance from the windway technician shows that the A determine quickly the overall health to the edge), the broach under the edge of a recorder’s voicing. Players face the that blends the windway into the bore, and best musical excerpts for same problems, both when they are plan- the chamfers on the end of the windway. testing the voicing of ning on purchasing a new recorder and However, it can include the bore of the in- a recorder also require when they want to know if there is a prob- strument, the tone holes and even key- lem with their instrument. Over time, I work, because the way an instrument plays a playing technique have developed a number of tests that is tied to how energy is reflected back up that is in tip-top shape quickly tell me a lot about the way a re- the bore from these features and the tuning corder is playing. These can be used by of harmonics. anyone, with a few caveats. When an instrument is well voiced, it by Dale Taylor Any evaluation of recorders is firmly should respond easily to whatever we wish grounded in two fundamental principals. to do. The more easily it responds, the bet- The first is that the player’s technique ter for us as players, because we do not must be solid, or false reads will result. For have to divide our attention between play- example, if your high-note technique is not ing music and playing the instrument. reliable, it is illogical to expect any instru- It may come as no surprise to learn that ment to give you reliable high notes. In the best places to look for problems when fact, it has been my experience that many evaluating an instrument are the same of the finest recorders, those that allow a places problems are likely to appear in performer to do more, also require more of your own playing. These include the the performer in this way and will respond speech of the high D and high C , the well only with proper technique. speech of the high F, the ease with which The second is that a player must have an instrument trills and plays across the enough experience with different instru- register breaks at G-A and high D-E, and ments, and with instruments in different the ease of speech on the lowest notes. conditions of voicing, to recognize when it (Throughout this article, I will name notes is the player and not the instrument that is as if for F instruments, unless otherwise having a problem or to spot an instrument noted.) If you can play these easily, fast, that seems to play well but is not giving its and with certainty, you have an instrument best. that does not require any additional con- Players doubting their ability in the first centration. area should consult a reliable teacher. The Towards this end, the following pas- only way a player achieves the second re- sages are useful. They should be played as quirement, though, is to play a large num- fast as possible (given your own limits). Re- ber of recorders, listening critically, and member, although they may come from remembering how they play and feel. So the literature, our purpose here is not to begin now. play music. It is to try to make either the in- The information contained in this arti- strument or us reach our limits so we know cle should be of value to players who wish where those are. Hopefully, we will know to learn more about their instruments and which it is when it happens. If the instru- their own playing. ment fails before we do, it is probably not The voicing of a recorder includes all up to the demands we may place upon it in those factors that can affect the tone and performance. Though most of these pas- speech of the instrument. Usually, this in- sages come from literature for alto, and a cludes the windway, the edge, the window, few for soprano, use them with their origi-

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nal fingerings on all instruments. They can Example I: from Quantz Trio Sonata in C Major for Flute and Recorder work just as well on basses and provide good practice there, too. One of the best passages to open an evaluation is the following figure from the second movement of the Quantz Trio Sonata in C Major for flute and recorder (example I). Played at speed, this will not only indicate any problems with the high D speech, it will reveal a common problem in Example II: from Telemann, Locke Nur which the instrument tends to hang up between the high B and the D at speed, not speaking the D easily. This problem might not be found by attacking repeated Ds or other intervals. One of the best passages to test high F speech is from the first aria of Telemann’s chamber cantata Locke Nur (example II). This passage should be played at normal speed, but with an emphasis upon Example III: from Telemann, Sonata in F Major, Der getreue Music-Meister whether it is possible to play each of the three high Fs differently. They should be playable so as to imitate the way we might say, “Here... you...are,” with the first two short, but not the same, leading to the “are,” which is longer and accented. If you can pick these notes out of the air in perfect rhythm and with this kind of control, chances are the instrument is not fighting Example IV: from “Browning” you. As it continues, this passage provides excellent slurs across the register breaks, allowing you to test for different problems with one passage, as well as a hemiola figure, allowing us to test the ability to punch Example V: from Sammartini, Concerto in F Major for soprano recorder out articulations without cracking. If you are still unsure about high F speech, the first movement of Telemann’s F major sonata from Der getreue Music-Meister contains a good scale up to the high F from open Gs (example III). Playing a bit of the “Browning” tune (example IV) allows us to check the low G for burbles, and the low B to see both if it is in pitch and can be pushed without breaking or becoming buzzy, which indicates a voicing problem. The Sammartini F major concerto for soprano gives us two passages, one of which, from the first movement, tests register breaks (example V); the other, from the third movement, is another test for “Overall speech can be judged by a passage from the third high A (soprano) or D (alto) speech (example VI). Another excellent test of trills movement of the Vivaldi C minor concerto, RV 441 across the register breaks is from the first (example VIII). Very few recorders (and fewer players) movement of Vivaldi’s C major sopranino concerto, RV 444 (example VII). play this passage well, so it becomes something of a Overall speech can be judged by this touchstone. Yet, I have seen several basses passage from the third movement of the Vi- valdi C minor concerto, RV 441 (example that play it reliably at speed.” VIII). The lowest G should be solid enough to sit on and give the impression of ringing. The highest notes, including the high D,

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should pop out reliably and effortlessly. It should be possible to play the first note strong and long, then the second and third notes, where they form a moving voice, can “It has been my experience that many of the finest be slightly drawn out so as to be heard, and recorders, those that allow a performer to do more, the remainder thrown away quickly enough to make up the time stolen by the also require more of the performer...and will others. All in a tempo that puts the piece in a moderate “one to the bar.” Note: very few respond well only with proper technique.” recorders (and fewer players) play this passage well, so it becomes something of a touchstone. Yet, I have seen several basses that play it reliably at speed. Another good Example VI: from Sammartini, Concerto in F Major for soprano recorder test for overall speech is from the last movement of Telemann’s Der getreue Mu- sic-Meister C major sonata (example IX). Its three-part counterpoint requires exacting speech from top to bottom but is more ap- proachable to the average player. Instruments with keywork need to have the keywork evaluated. Keys should be positive, sealing with the least effort, and should spring back quickly, quietly, and reliably. So far, so good. They should do all of this without giving us carpal tunnel syn- drome or slowing us down. Example VII: from Vivaldi, Concerto in C Major for sopranino recorder I have found the following test, from van Eyck’s last “Doen Daphne” variation (example X), works for the lowest key on a recorder. Other keys will have been picked up in the other examples. The D-C ex- change (C fingering) should be thrown off as a very fast, explosive trill, in contrast to Example VIII: from Vivaldi, Concerto in C Minor for alto recorder the theme. If you can do this, and then immediately revisit the key and explosively do the turns around the E and on, without either sloppy fingerings or partial covering, your keywork works well. Body keywork tests, to find a suspected leaking key, involve placing fingers for a low G, getting it to speak clearly, then lift- ing each key one at a time and replacing it gently. If it doesn’t seal right, the low G will Example IX: from Telemann, Sonata in C Major, Der getreue Music-Meister become unstable or impossible. Get it working again and then try the other keys. You should soon know exactly which key is responsible. Only after you have evaluated body keys should you attempt to get the lowest note(s), which add one or more keys to the formula. Some of these passages don’t work all that well on Renaissance recorders, which generally are not called upon to play leaps Example X: from van Eyck, variation on “Doen Daphne” with as much facility as Baroque recorders. One great test of this capability, regardless of its overall musical quality or familiarity, is the Henry VIII “T’andernaken” (example XI). At speed, this gives us a chance to test both high- and low-note speech, our ability to articulate hemiola figures, leaps, syncopations, and a few accidentals and cross fingerings, as well as rapid scalar pat-

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terns. It also gives us something to push Example XI: from Henry VIII, “T’andernaken” around with our breath a bit, to see how flexible the instrument is. Good Baroque copies require that cross fingerings not be too equal in tone to those that do not leave any closed holes below an open one. The beginning of Telemann’s F minor sonata from Der getreue Music-Meis- ter (example XII) gives us a great piece to see how much contrast there is. We should be able to distinguish clearly between the chromatic cross-fingered notes and the main-line ones, and use that to keep interest alive while we delay structural accents until we finally get to the downbeat in measure ten. The most common alternate fingering, that for the E, should definitely be usable (if not as much as some methods would like us to use it). This passage from the second aria in Handel’s cantata, Nel dolce dell’ oblio (example XIII) should allow us to play with a fairly broad articulation and the principal fingering the first time around, then with a more staccato articulation and the alternate E on the repeat, for a clearly perceived echo effect. Before finishing your evaluation, you Example XII: from Telemann, Sonata in F Minor, Der getreue Music-Meister should play a slow chromatic scale, listening to every note on the instrument. Eval- uate pitch (with a tuner, if necessary) and tone, and be critical of any really odd notes. When checking pitch, don’t try to play the instrument in tune. Try to hold an even breath pressure. Play it where you want it to be, and see how far out it is. Check octaves—are they wide or narrow? Finally, give the instrument a good vi- Example XIII: from Handel, “Nel dolce dell’oblio” sual evaluation. Is the craftsmanship up to par? Are the window edges square? Is the edge square? Are there nicks in the edge? Are the chamfers (visible through the window) even? Is the beak symmetrical? Is the windway uniform in height across the

“Before finishing your evaluation, you should play a slow chromatic scale, listening to every note on the instrument. Evaluate pitch (with a tuner, if necessary) and tone, and be critical of any really odd notes. When checking pitch, don’t try to play the instrument in tune. Try to hold an even breath pressure. Play it where you want it to be, and see how far out it is.”

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curve? Is it centered in the beak? What is the thumb-hole condition? Are there fibers hanging from the tone-holes or elsewhere in the bore? You may see material placed in the bore by the builder or a repairman. This is not necessarily a problem, as long as it fixes whatever problem it was put there to fix. Are the tenons and sockets concentric to the bore? You can look through the body and foot-joint to see if there are steps at the foot, but it is difficult to see the head- joint. Compare the socket and tenon to see if they look like they are both concentric. Check the wood for signs of cracks. Grenadillo and rosewood can be difficult to tell because of the open grain. Use a magnifying glass to see clearly. Are there holes in the body from old thumbrest screws that could be leaking? And so on. Be critical. Just because it has rings made from Martian meteorites doesn’t mean it’s a good instrument. Now, you’ve done all the objective work you can. Play the instrument, using pieces you know. Hold long notes with dynamics, including flattement. Does the recorder allow you to do this easily? Do you like the tone? Does the tone relate well to others of its type, or is it unique, and perhaps a bit uneven? Even if it plays well, is it stuffy? Does it feel a mite unresponsive, even if it plays pretty well? Any of these can indicate it might still be out of voice. Perhaps you like it. Be advised, if it is out of voice, no- one will ever be able to get it back to where it is now when you must have it voiced. You will get an “in voice” instrument, whether that’s what you liked about it or not. Only after critically evaluating for speech and pitch can you move on to aes- thetics. If the instrument fails the earlier tests, you probably don’t really want it. If it passes those tests, it must still be suitable for you, your playing style, and the music you play. If you’ve made it this far, you have WALDO JONATHAN PHOTOGRAPHY: a pretty good idea whether it passes or not. If it once did, but doesn’t now, it probably needs a bit of attention, unless you’ve grown more demanding. If it is a new purchase you are considering, and it doesn’t meet these criteria, think twice. But if it all checks out, count yourself lucky and enjoy your new instrument!

A student of Arnold Grayson, Phil Levin, and Bernard Krainis, Dale Taylor has led many workshops for ARS chapters throughout the country. For a number of years he was supervisor of Levin Historical Instruments, building quality reproductions of Renaissance and Baroque woodwinds, and he is currently active in recorder repair. ARNov00up.qxd 11/7/00 4:00 PM Page 14

Remembering Bernard Krainis, 1924-2000

ERNARD KRAINIS died on August 18, wedged behind a bookcase wall-installa- B 2000, at his home in Great Barrington, tion, containing on its shelves besides Massachusetts. He was 75 years old. many books, plants in earthernware pots, Bernie died within a year of LaNoue little statues, framed photographs, pic- Davenport, and this is an irony. One thinks tures, and other valuable items. Down of Thomas Jefferson and John Adams, came the entire apparatus with a tremen- whose lifelong stormy relationship reflect- dous crash, smashing everything and tear- ed differing personalities, but with essen- ing a jagged hole in the oil painting beside tially similar ideals. The two young men it painted by a friend of the Krainises.

PHOTO: CLEMENS KALISCHER met in classes at the New York College of Bernie merely looked calmly at the horrible Music in the early fifties conducted by the mess and stated somewhat ruefully that “father” of the American Recorder Society, the bookcase had been insecure and due to Erich Katz. Both became interested in ear- come down any minute anyway. He then ly music and in the recorder and went on, went to give Betty the dreadful news; she each in his own way, to develop recorder immediately appeared in the living room playing as an extraordinary way of making with tumblers-full of scotch for all of us to music. soothe our nerves. They both forgave me Bernie was at various times president of on the spot. the American Recorder Society and editor All of us in the recorder world send our of its Newsletter and musical director of the condolences and love to Betty Krainis, and fledgling New York Recorder Guild. He was to their son John. There is no doubt that also, like LaNoue, a recipient of the ARS Bernard Krainis was not only one of the pi- Distinguished Achievement Award. He oneers in both the recorder and early mu- taught at Kirkland University, the Eastman sic movements in the United States, but a School of Music, and Smith College, as wonderful man as well, whose loss will be well as at other institutions. He ran sum- keenly felt by many. His accomplishment mer workshops, both for the American Re- Martha Bixler corder Society and privately. He had a host New York, New York is a great one: of private students. One amazing work- He brought the respect shop that he ran under the auspices of the INETEEN-FIFTY was an important year. ARS was the two-week International Re- NBach had died 200 years earlier and of the professional music corder School at Skidmore College in Sara- this was recognized with new recordings of world to an instrument toga Springs, New York, in the summers of his music on the recently invented LP. 1965 and 1966. He brought the leading Eu- Landowska’s performances were sold that had hitherto been the ropean players of the day, Frans Brüggen, everywhere. Also, a new star was rising on Hans-Martin Linde, and Hans Ulrich the horizon of recorder players. I came to domain of amateurs. Staeps, to this workshop. New York City from Maine to work in a —Scott-Martin Kosofsky Bernie Krainis was a pretty tough furniture shop during the day and study teacher, but he had the proverbial heart of music evenings at Columbia University. gold, and he was an incredibly kind per- Wanting to meet fellow recorder players, I son. A personal anecdote may illustrate called up Suzanne Bloch who mentioned this: I had just been at his and Betty’s to me the “talented young player Bernard apartment for a rehearsal, and had forgot- Krainis.” We met and soon we were asked ten my coat when I left. Needless to say, I to perform at an elegant lady’s musical discovered this immediately after going evening. outside. I ran back to the apartment, found That year also the cold war was heating my coat, and pulled it rather hurriedly off up with serious trouble in Korea. No the arm of the sofa where I had draped it. longer a full-time university student, I re- The sleeve of the coat had somehow been ceived a notice from the draft board and

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mentioned this to Bernie. He told me that MAN OF METHOD, Bernie Krainis set out life of self-awareness and analysis, dissect- in the last year of WWII he had served in A to play the recorder at least as well as ing every stroke of the tongue and every the US Airforce and that, “it is the easi- the leading orchestral wind players played beat of vibrato as Bernie played back my est—you don’t have to shoot.” I took his their instruments. Just because he was en- own performance on his sophisticated advice and it proved excellent. For three gaged in a novel enterprise didn’t mean sound system. That was more pain than years I was a flutist and piccolo player in an that he would ever allow the standards to any kid on the football team had to endure, Air Force Band near Washington, D.C. be relaxed. This criterion is what he and they were lessons that stayed with me When I met Bernie again, he men- brought to the New York Pro Musica and from my work in music through my later tioned to me his interest in Renaissance the host of ensembles that bore his name. work in the field of design. music. I was impressed but surprised be- It set the mark for early music performance Bernie believed that one could acquire cause I felt that for a recorder player in America—no small matter—and it historical elements of style and expression Baroque music was most important. Little shouldn’t be forgotten. For a long time, in the same methodical way one acquired did I know that Bernie with Noah Green- Bernie was far and away the best recorder technique, even though it sometimes berg was then forming the New York Pro player on the American scene. meant that the more detailed and explicit Musica. It was marvelous to hear this Bernie was a modernist, very much at sources (Quantz, say) would be given more group performing the glorious music of the home in the world of Stravinsky, Hin- weight in the study, regardless of their his- 16th-century. Bernie’s recorder playing be- demith, and Art Tatum. These names are torical importance to the recorder. If this came outstanding. not a random choice; they were among remark appears to describe someone of After a concert in Boston, he told me Bernie’s self-admitted models, and they limited scope, then it gives the wrong idea. that he had got married and that he and his are a telling list. He was attracted to Few people I’ve ever known have com- wife had a son. As a family man myself, Stravinsky’s anti-Romanticism, Hinde- bined the intellectual range, the physical Bernie had my fullest willingness to ex- sympathy. When Inge plore, and the social and I paid a visit, we re- grace of Bernard alized what a mar- Krainis. He was a velous support Betty connoisseur of life was for Bernie. and a delightful Bernie was also a companion for all great supporter of my occasions. Yet there efforts. He had bought was a degree of my #3 alto recorder artistic accomplish- and performed on this ment that eluded almost constantly. It him—perhaps at was a pleasure to see that point where this instrument in such the musical possi- good hands. Bernie bilities of mod- had become the Ameri- ernism run out. can recorder virtuoso, Nonetheless, his ac- concertizing with complishment is a many experts such as great one: He Barbara Mueser, Ed- brought the respect ward Brewer, Morris of the professional Newman, Louis Bag- music world to an ger, Sonja Monosov, and many others. It mith’s insistance on method “über alles,” instrument that had hitherto been the do- was exhilarating to see him walk on stage and Tatum’s highly controlled virtuosity. I main of amateurs. with confidence and play with his special became his student in 1966 as a boy of 13. I remember how proud I was as a very flair and style. Noah Greenberg died early that year, and young musician that a recorder player had With Betty, Bernie established a center the hot conversation in early music was been invited to make solo albums for great for recorder players in Great Barrington. shifting from method to expressiveness labels like Columbia and Mercury. I am Many visited the friendly house at Pump- and sound. The focus moved from New proud that he was my teacher. And I am es- kin Hollow Road. The barn was converted York to Amsterdam, where the principal pecially proud that he was my friend. to a concert hall. This was the beginning of actors had created an expressive approach Scott-Martin Kosofsky the Aston Magna concerts, which continue so persuasive that they themselves were Cambridge, Massachusetts to this day. unaware that they had founded the first As a performer and teacher, Bernie had postmodernist school of music-making, ITH THE DEATH OF BERNARD KRAINIS in tremendous influence on many young despite all the hype about historical “au- WAugust of this year, our community American recorder players; the list would thenticity.” But a 13-year-old needs less roof recorder players has lost one of its pio- fill the page. All have lost a good friend— mance and more discipline, and in that re- neers and most virtuosic performers. Al- yet his spirit lives on, in his students and in gard no teacher could have been better though he had retired from professional our memory of his superb performances. than Bernie (there was time for Frans performance many years ago, Bernie con- Friedrich von Huene Brüggen later on). During those afternoons tinued to teach students from his home in Brookline, Massachusetts on West 86th Street, I was introduced to a Great Barrington, work on his voluminous

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Remembering Bernard Krainis, 1924-2000 (cont.)

recorder method, and be very much involved in local musical events, especially those of the Berkshire Bach Society. It was with some trepidation that I called Bernie in the early ’90s to inquire about the possibility of his giving me some recorder lessons. I had read his comments (published in AR in August 1989) about amateur playing, which some people, including myself, had interpreted as a strong criticism of amateur players. Still sitting unmailed in a drawer of my desk was an angry rejoinder I had intended to fire off to the editor. However, the following year Bernie appeared at a workshop of the New York Recorder Guild, and I met him for the PHOTO: POND AMANDA first time. Bernie and Betty Krainis at their home in Great Barrington, Massachusetts, He was expounding on one of his fa- with two of their nine grandchildren. vorite subjects: articulation. Far from being the gruff and somewhat intimidating individual I had anticipated, Bernie was a was always the topic of using correct artic- demanding, enlightening, entertaining, gentle and kind person who spoke elo- ulation. He would illustrate a point by wav- amusing and delightful experiences of my quently and convincingly about his chosen ing his battered and heavily annotated pa- life. It was not only the improvement in my subject. Everything he said in his lecture perback copy of Quantz’s On Playing the playing skills that came from these lessons made so much sense that I contacted him Flute, although he didn’t really need to but the pleasure I derived in getting to soon afterwards and began travelling regu- open it because he could quote most of know Bernie, his wonderful wife Betty, sev- larly to the Berkshires for lessons. Quantz’s examples verbatim. eral of his grandchildren, and other mem- There are so many recorder players, In general, Bernie liked his students to bers of his family. In the summer, I rarely professional and amateur, who have been work things out for themselves. He sug- returned home to Connecticut without a fortunate enough to study with Bernie, and gested that beginners in Baroque orna- sampling from the bounty of Bernie and I am sure they shared my enthusiasm for mentation study the works of French com- Betty’s abundant garden—delicious his teaching methods, which were always posers such as Hotterre and Dieupart, who home-grown fruits or vegetables or a cut- demanding but never demeaning. Despite had given very specific instructions on the ting from a colorful perennial. his formidable career and strong personal- ornamention of their works. When we Bernie loved the Berkshires at all times ity, he was never an overbearing teacher. were working on Italianate pieces, he of the year, and I have a particularly fond He had high expectations of his students would occasionally give an impromptu ex- memory of being at his house one brisk, and a gift for extracting the best from them. ample of his own inimitable ornamenta- sunny winter’s day after a heavy snowfall. Bernie greatly enjoyed bantering about tion, which I always enjoyed immensely. At After my lesson, we took off from his back a point: Where should that breath be tak- one stage, while we were working on my door for a tour of the surrounding coun- en? Where did the musical phrase end? Ah, rhythmic improvement, Bernie produced tryside. He was on cross-country skis, and but was this really a pick-up? How should some particularly challenging and scholar- I was trying out some new snow shoes. We this be tongued? Where should the stress ly 15th-century duets, insisting that I break crossed a field and went down a slope to be? Bernie believed that the answers to a cardinal rule and visibly tap my foot until the aptly named Green River. Bernie indi- these questions could usually be found by I could demonstrate that I was counting cated the land on the other side, which closely examining the score. He enjoyed it properly and not (as he delicately put it) bordered Great Barrington’s airport, the all the more if your opinion differed from “fakin’ it.” He had a talent for assessing his noise from which was a continual source of his and a spirited discussion ensued - but students’ capabilities and gently pushing irritation to him and his family. He was you had to be able to justify your point of them to the next level of expertise, whatev- very much involved in local affairs and be- view! Bernie had a number of pet subjects, er that could realistically be. Bernie never came well-known for his pithy letters to the including his somewhat liberal use of vi- judged his students’ lack of ability harshly, editor of the Berkshire Eagle. He would oc- brato, which he considered an important only their lack of desire to learn, to practice casionally show me these letters, which enhancement, despite its being considered to improve and to do their best. tackled a number of controversial subjects inappropriate by other recorder profes- My weekly visits to Great Barrington but were often about issues affecting the sionals. But Bernie’s favorite hobby-horse proved to be some of the most instructive, well-being of the local community. As all

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who knew him will testify, Bernie was a man with very strong ideas, which he was never reticent to share. To me this was an endearing trait, because one could always count on his giving a completely honest opinion, usually delivered with his typical humor and incisive wit. Having grown up in England, during Lessons with Bernie Krainis the fifties and sixties, I had never had the opportunity to hear Bernie perform live during his playing career and would occasionally try to wheedle him into lending White cape slate roof Berkshire house me some of his old recordings.This was no easy task because Bernie didn’t like to lis- brook babble wood stove warmth ten to himself and was amazingly modest and critical of his own playing, although he I went there looking for tricks occasionally (grudgingly!) obliged. Of the few recordings I managed to hear, one par- the great man was offering style. ticular favorite is Bernie’s performance of Baroque concerti he performed with The We spoke of peace London Strings directed by Sir Neville Marriner. In the summer of 1997, my wish to hear We spoke of war Bernie in a live performance was finally granted when he was briefly lured out of re- We spoke Quantz tirement for the 25th anniversary celebra- tion of the Aston Magna Festival. The pro- Da ta did’ll la ta gram, which took place in three different locales, included Telemann’s Concerto in Da ta did’ll la ta E Minor for recorder, flute, and strings. I attended the performance at St. James’s Church, Great Barrington, which was filled to capacity long before the performance High F-sharp boxwood four-fifteen began. There was also a long line of people without reservations waiting hopefully on Stanesby mordent Bach the steps outside, including one elderly woman. When it was time to begin and the I came back looking for style organizers closed the front doors, she protested loudly from outside: “But I my friend was offering soul. wanted to hear the recorder player!” Those of us inside were not disappointed. It was We spoke of life a wonderful performance, and Bernie was in tip-top form. Afterwards, it was clear We spoke of love that, despite his recent resistance to public performance, he had thoroughly enjoyed himself. He was in an ebullient mood and We spoke Quantz full of praise for the talents of flute player Sandra Miller and his other fellow musi- Da ta did’ll la ta cians. It was a truly memorable evening, especially so because of the rarity of the Da ta did’ll la ta occasion. Although perhaps it is the amount that I learned from Bernie that will be his ultimate legacy for me, there are so many other benefits that came from knowing this talented, opinionated, sincere, complicat- John Martin Byrne ed, occasionally exasperating but gentle, kind, humorous, and generous man. It was a privilege to have known him. I shall miss him dearly. Amanda Pond Milford, Connecticut

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CHAPTERS & CONSORTS ______Recorder orchestras and ensembles perform, ______and Richard Eastman is honored in Kalamazoo

Top billing “You Want Me to What” was the title of MetroGnomes Perform the West Suburban (IL) Chapter’s Octo- On July 9, the MetroGnomes, a quintet associated with ber meeting led by Bill Nelson. The “what” the Twin Cities Chapter, played for the South Washington was transposing to unfamiliar clefs. County Garden Tour in Cottage Grove, Minnesota. The The October 29 meeting of the Boston five recorder players included Brad Wright, Paul Eger, Recorder Society was billed as “Déjà Julie Close, and Karen Read, and Marja Verbeek (who vu—Haunting Melodies” in honor of recently arrived from The Netherlands). The garden in Halloween. which they played appeared in the July issue of Midwest Living and featured a large waterfall and In performance many individual gardens within the whole.

Patrick O’Malley, a member of the VERBEEK MARJA DRAWING: Chicago (IL) Chapter, performed as part ton College in Morrow, Georgia. Peggy fornia, at Trinity Cathedral to begin polish- of the period instrument orchestra in the Lamberson and Pat Nordstrom led a ing up repertoire for coming concerts. Chicago Opera Theater’s October produc- demonstration/mini workshop that gave While AROW’s repertoire will lean toward tion of Monteverdi’s Orfeo. participants a chance to learn more about music of the Renaissance and Baroque, the On October 12, Atlanta Chapter mu- how the Baroque music they perform is re- group will regularly read new music for sic director Jody Miller premiered Timothy lated to the actual dances. possible inclusion into repertoire. Broege’s Two-Part Elegy for LaNoue Daven- port at Agnes Scott College, Decatur, Geor- Recorder orchestras Richard Eastman, composer of more than gia, where he is Artist Affiliate in Recorder. Fourteen members of the West Subur- 136 pieces for combinations of recorders Under the name Bach et Alia, Sacra- ban and Chicago chapters joined with published by his House of Porter firm, was mento (CA) Recorder Society members three recorder-playing members of the honored at the October 24th meeting of Alex Ives and John Pronko played in July Wesley United Methodist Church in Auro- the Kalamazoo (MI) Recorder Players. for the opening of the Sierra Artists’ Net- ra, Illinois, to perform recorder orchestra He heard the members play selections of work’s annual North Lake Tahoe/Truckee arrangements for an August Sunday service his music they had practiced at their Sep- Art tour. at the church. Members of the congrega- tember meeting. The Adirondack Baroque Consort, one tion showed curiosity about the great bass- of five ensembles associated with the Hud- es and contrabasses used in the orchestra. Pete Rose led the Princeton (NJ) Re- son Mohawk (NY) Chapter, played in Ju- The Seattle (WA) Recorder Society corder Society at their October meeting in ly at the Round Lake Auditorium to raise opened their season October 6 playing a modern English music: Scherzo by Ben- money for the restoration of the historic recorder orchestra arrangement of Han- jamin Britten, Intrada by Michael Short, building and its pipe organ. del’s Concerto Grosso, Op. 3, No. 4, pre- and a movement from Timothy Moore’s pared by SRS music director Peter Seibert. Suite in G. The September 9 playing session of the At- Some parts were purposely left with limit- lanta Early Music Alliance was tied into ed rhythmic demands and ranges for so- BRS-West, the suburban edition of the the “Menuet” concert of the Atlanta Bar- prano and alto players of modest ability. Boston Recorder Society, is organizing its oque Orchestra that same evening at Clay- Great basses and a contrabass were used. meetings this year in Concord, Massachu- Having successfully emerged setts, around the alphabet. In September, from its start-up phase with a the group played Bach, Busnoys, Byrd, core of 15 committed players, the Beethoven, Brahms, Britten and others un- American Recorder Orchestra der the direction of coaches Sheila Beard- of the West (AROW) met Sep- slee, Eric Haas, James Young, Andy tember 30 in Sacramento, Cali- Schmidt, and Roy Sansom.

Members of the East Bay (CA) CHAPTER NEWSLETTER EDITORS Chapter were overjoyed when Want to see your chapter in the news? Check they opened their Play-the-Re- to be sure that a copy of your chapter corder Month prize music: left newsletter goes to American Recorder, 472 Point Road, Marion, MA 02738; or e-mail to right, Dominic Bohbot, Car- text to [email protected]. olyn Velez, and Wendy Oser.

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BOOK REVIEWS ______Books on Purcell, Busnoys, and early music theory

PURCELL: A BIOGRAPHY. BY JONATHAN England in the later 17th century. This sto- terpiece) or about a disputed piece of his- KEATES. Northeastern University Press, ry includes the return of Charles II in 1660 torical evidence. This is by no means a his- 1996. 316 pp. Hardcover, $35.00. ISBN: (the year after the composer’s birth), torical novel, but neither is it a dry recita- 1-55553-287-X. which ended the period of Cromwell’s tion of fact. A more detailed bibliography Henry Purcell’s position in regard to Commonwealth and ushered in the at the close of the book would have been the recorder is much like that of J.S. Bach. Restoration, a period that saw a veritable appreciated, as would a list of Purcell’s Both composers wrote copiously and re- explosion of artistic activity. The story also works and perhaps some illustrations, but wardingly for the instrument in their large- features far-reaching and dangerous politi- the indexing and the clarity of Keates’s pre- scale vocal works, but sparingly in their in- cal swings as the Protestant Charles was sentation make it easy to find specific strumental music. Because of this, each succeeded by the Catholic James II, who references. composer’s best writing for recorder is lit- was ousted in turn by the emphatically Anyone who has enjoyed Purcell’s mu- tle known, even to recorder players. The Protestant William and Mary. sic will find this an engaging and informa- 300th anniversary of Bach’s birth in 1985 By telling Purcell’s story chronological- tive introduction to the composer’s life gave the impetus for a project to record all ly with a deft mixture of political and social and times. of his church cantatas, thus making his history, a survey of musical and theatrical Scott Paterson best recorder music accessible. The 300th developments, and brief but insightful anniversary of Purcell’s death in 1995 sim- analyses of the most important of Purcell’s ANTOINE BUSNOYS: METHOD, ilarly resulted in the recording of all of Pur- works, Keates makes us forget that the MEANING, AND CONTEXT IN LATE cell’s odes, which feature much fine writ- there is very little that can be said about the MEDIEVAL MUSIC. EDITED BY PAULA ing for our instrument. composer himself. Keates is especially HIGGINS. Oxford University Press, 1999. While there has never been any short- good at interpreting the facts that have sur- 624 pp. Hardcover, $130.00. ISBN: 0-19- age of books about Bach to fill out the sto- vived in order to put them in the proper 816406-8. ry behind the music, Purcell has not re- perspective. For instance, although it may For most of us, the most memorable ceived the same amount of attention in be true that Purcell’s wife, Frances, locked fact about Busnoys has probably been the print, since very little documentation re- him out of the house in the cold after one difficulty of pronouncing his name. Many mains concerning the details of his life. too many late nights at the pub, it was will be at least passingly familiar with some Every addition to the Purcell bibliography more likely a lingering disease like tuber- of these chansons, most likely through the is a welcome one, and the more so when culosis that finally did the composer in now classic recording of some of them the writing is as well balanced and accessi- rather than any direct result of exposure. made in 1970 by Joshua Rifkin and the ble as it is in Jonathan Keates’s Purcell: A Starting from a firm factual basis (sup- Nonesuch Consort. Two reasons for this Biography. ported by unobtrusive end notes), Keates comparative neglect may well have been As Keates makes clear, there are virtual- tells an engaging story that has plenty of the fact that there are substantial gaps in ly no personal details available about Pur- color and personality but is never sensa- our knowledge of Busnoys’s life, and the cell, and even the music itself has some- tionalized. There were more than enough lack of a critical edition of the 59 (or more) times come down tko us in such a con- talented and flamboyant characters songs that form the most important part of fused and incomplete state that it is around Purcell to give an idea as to the vig- his surviving work. His spirit has now ob- difficult to decide what was actually writ- or of his working life, while Keates is very tained partial redress, however, in this lav- ten by the composer and what was written ready to express his opinion about a given ish and extensive volume, the most elabo- by his colleagues. However, Purcell was the work of Purcell’s (not every work is a mas- rate book devoted to a single late-Medieval exact opposite of Bach in that he was active composer since the volume on Josquin des at the very center of the great affairs of his Every addition to the Prez edited in 1976 by Edward Lowinsky. time. As a composer to the royal court, or- Like the Josquin volume, the present book ganist of Westminster Abbey, and a fre- Purcell bibliography is is a collection of essays deriving from a quent and popular collaborator on the a welcome one, and the scholarly conference, in this case held at London theater scene, Purcell was directly more so when the writing the University of Notre Dame in November involved in many of the most important is as well balanced and of 1992. The twenty papers included in the political and artistic events that occurred volume give an extraordinarily compre- during the course of his short life. accessible as it is in hensive view of a composer who for most Keates is thus able to draw a picture of Jonathan Keates’s of us has been a shadowy figure. Purcell’s career by telling the fascinating Purcell: A Biography. Paula Higgins, the conference’s orga- story of the turbulent political history of nizer, wrote her Princeton dissertation on

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Busnoys. She provides a very useful intro- sic in its cultural context. Michael Long duction that places Busnoys scholarship in carries further the question of why cantus its present context and provides a similar firmus masses should have arisen so sud- context for each of the papers in the vol- denly around the year 1460, and in partic- ume. David Fallows, whose paper derives ular why the “L’homme armé” tune should from the conference’s keynote address, have been so popular, relating it in particu- discusses Busnoys research over the previ- lar to the papal campaign for a new crusade ous decade, noting how much work has following the fall of Constantinople to the been done and how different the conclu- Turks in 1453. Paula Higgins adds to our sions of such a conference might have been knowledge of Busnoys’s career by dis- had it been held in 1982. Fallows concen- cussing a document that details a some- trates on Busnoys’s songs, noting that he what acrimonious debate at the church of was “the most prolific song composer be- St. Hilaire-le-Grand in Poitiers in 1476 tween Dufay and Claudin de Sermisy” (p. concerning the appointment of a new 10). He also supplies an appendix that choirmaster for the boys (one of the candi- places Busnoys’ songs, as far as possible, in dates was Busnoys). Rob Wegman exam- their chronological order. ines the notation of Busnoys’ sacred The remaining 18 essays in the volume works, identifying an anonymous motet in are organized under five headings. Three of a Sistine Chapel manuscript as a Busnoys the papers address aspects of ceremony work mentioned by Tinctoris but pre- and ritual. The late Howard Mayer Brown, sumed lost. Jaap van Benthem attempts whose untimely death came only a few with considerable success to reconstruct months after the conference, examines the the original form of Busnoys’s motet in ordinances concerning the use of liturgical praise of Ockeghem, In hydraulis, which music from the Burgundian court of survives only in very corrupt sources. Charles the Bold, in whose service Bus- One of the principal reasons we have noys unquestionably worked. Brown had to wait so long for a critical edition of sheds fascinating light on the daily life of Busnoys’ works is that the attributions of the court’s musical establishment and on many of them are not very secure. The fol- the way in which the regular sequence of lowing group of essays addresses this ques- the liturgy was celebrated. Brown con- tion of authenticity. Mary Natvig examines cludes by suggesting that an important the single Magnificat attributed to Bus- next stage in research would be to examine noys, comparing it with four anonymous why composers at about this time began to settings and discussing in some depth the base their cantus firmus masses not on the question of what kinds of comparative evi- almost inexhaustible variety of plainchant, dence can validly be used to demonstrate but on secular, especially love, songs. As if authenticity. Andrea Linmayr considers taking up the challenge, Jennifer Bloxam the possibility that Busnoys wrote the lays the groundwork for such an investiga- song-motet Resjois toi terre de France/Rex tion by discussing Busnoys’ use of plain- pacificus, which has previously been attrib- chant cantus, suggesting that by compar- uted to Busnoys (though in a fragmentary ing the forms in which they appear in his fashion) in one manuscript. Barbara Hag- masses (and those of other composers of gh-Huglo adds further documents from the period) with local service books, it may Brussels on the life of Busnoys and the be possible to localize the composition of even more shadowy composer Caron. Fi- cantus firmus masses more closely. In a very nally, Leeman Perkins, who is preparing a exciting essay, Flynn Warmington finds in critical edition of Busnoys’ songs for the se- a Florentine commonplace book of 1457, ries Masters and Monuments of the Renais- the Zibaldone quaresimale (“A Lenten Sal- sance, discusses at length the complex ad”), references to a ceremony in which editorial problems in the manuscript mass is celebrated with an armed man sources for the songs, especially the exis- standing at the altar. Relating this ceremo- tence of conflicting attributions and of ny to the otherwise inexplicable wealth of anonymous songs that seem to be in Bus- masses based on the song “L’homme ar- noys’s style. Four appendices give a wealth mé,” she finds further evidence for cere- of information on the manuscript sources monies in which an armed man appears at for the songs. the altar, including those in which a sword Three papers consider Busnoys’s work is used in Papal masses. Five generous ap- in the light of late Medieval music theory. pendices give the texts of the documents Peter Urquhart’s paper will be of particular on which this research rests. interest to performers; he provides evi- The second group of essays takes a vari- dence for the intentional use of false con- ety of critical approaches to Busnoys’s mu- cords, especially diminished fifths, in Bus-

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sons, modern commentators have most of- BOOK REVIEWS (cont.) ten relied on a general understanding of modal theory and have frequently com- noys, situations in which most editors may have studied with Busnoys. bined it with 19th-century tonal theory as would carefully add accidentals to excise As a whole, the volume is extraordinar- it is “prefigured” in the older music. Tonal the offending interval. Richard Wexler ily lavish, as it had better be at the price. Structures in Early Music, newly issued in takes up the thorny question of when (and Much of the primary source material for paperback, arose out of a conference orga- whether) composers began to think of the each essay is included in appendices; each nized by Cristle Collins Judd at the Uni- multiple parts of their music simultane- essay is accompanied by extensive musical versity of Pennsylvania in 1996, which ously rather than sequentially, concluding examples, in many cases of whole works. brought together experts in the field of ear- that the evidence does not support a Both the essays of Meconi and Rifkin in- ly music theory in an attempt to break new change to simultaneous conception in the clude transcriptions of the original three- ground in finding sophisticated ways of late 15th century and that theorists’ com- voice Fortuna desperata, and since there are dealing with early music on its own terms. ments likely imply a more simultaneous minor differences between the two tran- The ten essays in the book are orga- view of planning a piece, rather than of ac- scriptions, Oxford graciously prints both nized in roughly chronological order be- tually composing it. Alexander Blachly, a of them. Van Benthem’s paper includes a ginning with general treatments by Judd noted performer himself whose recording full transcription of his reconstructed In and by Margaret Bent of the questions ad- of Busnoys’s In hydraulis and other works hydraulis. There is no question that much dressed by the book. Essays by Sarah appeared in 1993, carefully reads Tinc- in the volume will be of interest primarily Fuller, Judd, and Timothy H. Steele ad- toris, the theorist closest to Busnoys, ex- to the musicologist, but there is a wealth dress specific early repertories, notably the amining his use of mensural signs for evi- here also for the listener and the performer. music of Josquin des Prez. Frans Wiering dence of tempo, confronting the age-old For the latter, I would particularly recom- presents the problems raised specifically problem that in most interpretations of mend Peter Urquhart’s discussion of by contemporary treatments of modal the- proportions, one of the tempos generally “over-editing” and Alexander Blachly’s ory, while Jessie Ann Owens and Candace seems either too fast or too slow. searching study of the evidence for tempo. Bailey each discuss the special view of The last group of essays focuses on Bus- For the former, the papers on the modes taken by English composers noys’s legacy, three of them concentrating “L’homme armé” masses will be of great in- around 1600. Finally, Harold Powers and on the very well-known song Fortuna des- terest if, like me, you’ve always wondered, Michael Dodds each examine the begin- perata, the original version of which has “Why?” The production values for the vol- ning of tonal thinking in the early German been attributed to Busnoys, and which ume are extremely high and, although its Baroque. spawned at least thirty-five versions by oth- price will probably be prohibitive for all While sections of the book can be very er composers. Martin Picker discusses the but the specialist, many will want to con- technical, the more general essays lucidly six versions by Heinrich Isaac, comment- sult it in the library. discuss issues of importance in a way that ing on the tune’s extraordinary popularity David N. Klausner can be grasped by anyone with a serious in- in German-speaking countries. Honey terest in the music of the Middle Ages and Meconi and Joshua Rifkin both address the TONAL STRUCTURES IN EARLY Renaissance. The basic message of the book is that modal theory as it is usually question of Busnoys as the possible com- MUSIC. EDITED BY CRISTLE COLLINS JUDD. poser of the three-part original, using vir- Garland Publishing, 2000 (originally pub- described is only a pale shadow of the rich- tually the same evidence to come to very lished in 1998). 413 pp. Softcover, $29.95. ly subtle uses to which the theory was put different conclusions. Although I suspect ISBN: 0-8153-2388-3. as musicians in various places at various that (as Picker says) the question is not re- One of the greatest challenges in deal- times actually made music. To take the solved, these two essays are of special in- ing with the music of the Middle Ages and trouble to understand these specific us- terest in that they can be very fruitfully the Renaissance is to find a way to discuss ages is to open doors of increased compre- read as studies in the slippery nature of ev- the music’s melodic and harmonic struc- hension, particularly in the areas of struc- idence. Finally, Allan Atlas considers the ture. While there is a large body of con- ture, genre, and even performance practice frequent similarities in the work of Bus- temporary theoretical literature to draw (especially in terms of adding accidentals noys and the lesser-known Jean Japart, dis- on, the theorists are frequently imprecise in modal music). In other words, the raison cussing the extent to which these similari- in their descriptions and often disagree d’être of the early music movement—to ties would allow the conclusion that Japart among themselves. Partly for these rea- learn about the music of the past (and our predecessors who made that music) by taking the music as much as possible on its In a Florentine commonplace book of 1457, Flynn own terms—can pay the same rewards in Warmington finds references to a ceremony in which this area as it has in so many others. Although some experience with musi- mass is celebrated with an armed man standing at cological discussion is necessary to get the the altar. Relating this to the otherwise inexplicable most out of this book, those with an ap- wealth of masses based on the song “L’homme armé,” preciation of this repertoire (particularly performers) owe it to themselves to ponder she finds further evidence for ceremonies in which the issues raised as well as to enjoy an armed man appears at the altar, including following the closely argued debates it those in which a sword is used in Papal masses. contains. Scott Paterson

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RECORDERS ON DISC ______Music of Renaissance Spain, ______Attila Bozay, Zana Clarke, Telemann, van Eyck, and lots of Mancini In 1999, the folks at Dorian heard a lot of the pleasure of each other’s company. Mancini recorder “sonatas” (concertos, Much of the same repertoire, with the really). First, on the West Coast, they re- addition of the cantata, Lauter Wonne, corded Francesco Mancini, Concerto di Lauter Freude, and the subtraction of the B Camera (DOR-93209), with Musica Paci- trio with harpsichord, is on Jirí Stivín’s fica and Judith Linsenberg. When that recording Telemann, Music with recorder, on wrapped up, they returned to the famous the Supraphon label (SU 3428-2 131). All Troy (NY) Savings Bank Music Hall in their is very well handled, but without the inef- hometown for sessions with Rebel and fable quality of the Boeckman disc. Matthias Maute, recording Concerti di What makes Ex Umbris’s live perfor- Napoli, a selection of Scarlatti, Valentini, mances so engaging is easy to identify on and...more Mancini (DOR-90286). Lucki- Chacona, Renaissance Spain in the Age of ly for listeners, only a couple of the Manci- Empire, the group’s new recording for Do- ni works overlap. Since they are rendered rian (DOR-93207). Ex Umbris members quite differently (Maute uses a Bob Marvin Grant Herreid, Paul Shipper, and Tom Za- Baroque alto in G for Sonata 6 and a Jean- jac are joined by guests Tina Chancey, Luc Boudreau soprano for Sonata 17, while Karen Hansen, Christa Patton, and Nell Linsenberg uses Baroque altos by Morgan Snaidas, and their strong dramatic imagi- and von Huene, respectively), we are nations, total technical comfort on a wide blessed with two complementary CDs that range of instruments, clear, true voices, acquaint us with this composer’s excellent and a playful sense of rhythm make a win- music. The over-the-top quality that sub- ning combination. The program demon- tracted from Rebel’s Berkeley Festival ap- strates the degree to which Spanish music pearances this past June is somewhat less was influenced by the cultures of the in- evident on this disc, while their energy and digenous people they conquered—wit- finely pointed phrasing remain. But energy ness the chacona itself, imported from the and finely pointed phrasing are also hall- New World and “sung on the streets at marks of Musica Pacifica’s performances, night by dissolute people. These songs not so there you are...lucky you! It would be only corrupt the young and incite them to hard to go wrong buying either, or both. morally lax behavior, but they even disturb The unfailing musicality of Vicki upright and retiring people with their ob- Boeckman is once more on display in her scene words in such a deluge that these recording of Telemann trio sonatas on the people are forced to plug up their ears in Classico label (ClassCD 325, distributed their own homes.” Can we imagine the rap by Qualiton). With colleagues John Hol- repertoire of today being revived in 2400 loway, violin, Jaap ter Linden, cello and with equally charming effect? gamba, Lars Ulrik Mortensen, harpsi- About the only quality you wouldn’t ex- chord, and Aloysia Assenbaum, organ, the pect from the Ex Umbris recording—a American recorder player based in Den- language-centered, idiomatic “rightness” mark records trios in G minor, A minor, D —is exactly the quality easily achieved in minor, B major (with harpsichord), F ma- De Antequera Sale Un Moro (“Music of the jor (with gamba), D minor, and A minor Christian, Moorish and Jewish Spain, c. (TWV 42: g9, a1, d7, B4, F3, d10, and a4 1492”) recorded by the Colombia-based for those readers familiar with the Tele- ensemble Música Ficta under the direc- mann numbering system). Nothing ever tion of Carlos Serrano. The lavishly pro- seems rushed, even in the furious fast duced CD (MF-002), including an 88- movements of the doubtful d10. The luxu- page accompanying booklet, is available riant playing gives the feeling that the play- through the offices of Musica Ficta, Carrera ers allowed more than enough time for the 16 No. 94-44 Bogotá, Colombia; or http:// recording sessions, so that they could en- php.ucs.indiana.edu/~cserrano/ficta.html. joy all the nuances of the music as well as Dorian also has recently issued discs by

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RECORDERS ON DISC bel. It included some of the original songs In the words of the composer, the musical (cont.) upon which van Eyck’s variations were material consists “for the greater part of based, in vocalizations and lute settings. very small elements arranged in a permu- two French ensembles that include re- Bravade, Francis Colpron’s first solo CD tative manner....” While I might agree with corders. Folie Douce, Renaissance Improvi- (ATMA ACD 2 2160), takes somewhat the the unintended point made in his biogra- sations, is a collection of fairly familiar same approach to van Eyck, including mu- phy translated from the Hungarian— items from Praetorius, Attaingnant, and sic by Sybrand II van Noordt (1660-1705), “Bozay is one of those artists whose talent similar collections, well-played by Ensem- like van Eyck a carilloneur in Amsterdam, develops prematurely”—I can also sympa- ble Doulce Mémoire (Jean-Paul Boury, and Johannes Schop (ca. 1590-1667), thize with the statement: “He belonged to cornetto and recorder; Denis Raisin- whose music was published by Paulus the first generation of artists who were no Dadre). The same group has also released Matthyszoon, as was van Eyck’s. If Laurin more forced to create along the lines deter- Renaissance Winds, subtitled “Regal and can be said to play van Eyck like mined by external expectations....The popular 16th-century music for wind Beethoven, Colprin plays him like Chopin: composers of his generation had to per- band” (DOR 90261). Fortune My Foe colored by a ravishing tone, filled with so- form individually the by no means easy (DOR-93182) is a collection of music phisticated rubato, more a stream of task of becoming open to new approaches from Shakespeare’s time recorded by Les melody than a stream of thought. and to European orientation, of evaluating Witches. The disc includes an interesting Bozay Plays Bozay is a commemorative and sorting out the flood of experiences.” “Pavane Lachrimae” that places the well- Hungaroton CD (HCD 31936) that reis- Waiting by the Sea, Zana Clarke’s new known van Eyck variations, featuring sues tapings made in the 1970s of Attila recording with Peter Biffin (fretless guitar Claire Michon, recorder, on top of Dow- Bozay (1939-1999) playing his own works and banjo and tarhu) is a relaxing set of land’s instrumental setting. on zither and recorder. His 10-minute Solo original, atmospheric songs that have the There are different ways to program a for Recorder is a loosely connected assem- quality of improvisations on simple folk disc of van Eyck. You can do it straight, as blage of then-current avant-garde effects. It elements (blues, Oriental, Semitic, and with Marion Verbruggen’s discs for Har- sounds as if it could be cut apart and re- flamenco among them) and touching monia Mundi or Dan Laurin’s ultimate, assembled, and from the program notes, childhood memories (Orpheus Music nine-disc set for Bis. Or you can put van this seems to be the case. The Improvisa- OM401). The Australian duo call them- Eyck into some sort of cultural context. tions No. 2, Op. 27, is cast in somewhat the selves Nardoo and may be reached at One disc that did this was Sébastien same mold, but the sound palette is en- [email protected]. Marq’s recording for the Auvidis Astrée la- riched by the employment of a string trio. Benjamin Dunham

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MUSIC

______REVIEWS ______Folk suites from the U.S.A., Great Britain, and Latvia, music for school ensembles, and a beautiful new work from Mexico MUSIK FÜR JUNGE BLOCKFLÖTEN- tation of Bach’s “Ave Maria” provides an niment. This collection will allow stu- SPIELER, arr. Viktor Fortin. Universal excellent opportunity for the student to dents to pair up with accompanists who Editions UE 31 222 E, 1998. S or A solos, play against an accompaniment that are working on a similar level of music, SA duos, some with kbd or classical strongly contrasts the solo line. (The only which can seldom be done at the inter- guitar, rec pt 59 pp, accomp. 52 pp. error that I located was in the piano part mediate playing level. $14.95. in measure 9 of this work; the repetition Although I am often leery of adapta- FOUR FAVOURITES FOR DESCANT of the accompaniment will make this er- tions of non-recorder music, Stent made RECORDER & PIANO, arr. Keith Stent. ror easy to find and correct.) Pachelbel’s excellent choices for this collection. Kevin Mayhew Ltd. 98481 (Mel Bay Pub- famous “Canon in D” follows and is not There is plenty of potential for teaching lications), 1998. S pf, sc 16 pp, pt 4 pp. technically challenging for the recorder material, both of what is good and what is $6.95. player or the pianist except for some dot- often less than good. Crescendos and de- Universal Editions has published ted rhythms and some slow syncopation. crescendos abound in a Romantic period some fine recorder music that includes Some variety is achieved by departing style, while the slur seems to be the artic- modern compositions and reliable edi- from the ground bass for one of the sec- ulation of choice. The last section of the tions of historical repertoire, and Musik tions, but the musicality doesn’t suffer. Canon begins at a piano dynamic level, für junge Blockflötenspieler could be con- “Autumn” from Vivaldi’s Four Seasons is followed by a diminuendo. At first glance sidered a collection of UE’s “greatest the spry inclusion in this collection. In I was concerned, but quickly turned this hits.” This is actually a terrific resource 3/8 time, it is repetitive enough so that into a handy teaching tool by introducing for teachers, who will find this music ap- novice players can feel some success with special fingerings for soft dynamics; re- propriate for near-beginners and can use this time signature fairly quickly. corder players know that these are in- many of the exercises for their most ad- Beethoven’s “Für Elise” is thoughtfully evitable necessities (I hope we all do, any- vanced students. The wide array of tunes woven together and is, by far, the most way!). The moral, therefore, is that in this, is almost overwhelming at first, but the difficult of the four tunes because of the as in any pedagogical work, turn slight vast majority should appeal to teenagers challenging dialogue between the re- negatives into huge positives and chal- and advanced younger students. One corder and piano. It is this type of piece lenge the students to make wise deci- might expect the bulk of the pages to con- that will require a sensitive and alert pi- sions. tain folktunes and simple Renaissance anist and a recorder player who is able to Jody Miller dances, but this is only partly true. I was lead with confidence. A big advantage is pleasantly surprised to see pieces by that many students are familiar with this Jody Miller is founder and director of the Michael Vetter and Pete Rose included work and will be able to find and correct McCleskey Middle School Recorder Ensem- (not easy for many young players), as well ensemble problems without excessive ble and teaches recorder to adults and chil- as sonatas by Finger, Handel, and Bach. teacher intervention. dren in the Atlanta area. He has served as Largely solo repertoire (sometimes ac- The interplay between the recorder president of the Atlanta Chapter of the ARS companied by keyboard or guitar), this and piano is quite good in these arrange- and is currently its music director. edition is filled with opportunities for the ments, and the piano part is simple student to play jazz, modest contempo- enough that an intermediate level piano THE ISLE OF GENTLE AIRS: Tradi- rary techniques, and mixed meter, along player can adequately provide accompa- tional Tunes of Scotland, England, and with the more traditional types of music Wales, arr. William E. Hettrick. Sweet Renaissance and Baroque composers left Pipes SP2375, 2000. SATB, sc 15 pp. with us. I admit I enjoyed playing most of Musik für junge $5.95. the book myself before I allowed students Blockflötenspieler is THREE SONGS FROM LATVIA, arr. to try it. I am a fan of compilations for a terrific resource for Ronald J. Autenrieth. Moeck 725, 1999. sake of economy and variety. This one can SATB, sc 6 pp. $5.00. be put to use often for recitals and for ex- teachers, who will find FRONTIER AMERICA SUITE, BY LAV- posure to some types of music that are this music appropriate ERN WAGNER. Loux LMP-163, 1997. Re- not always readily available to students. for near-beginners and corder quartet w/opt. crumhorn or corne- The print quality is very high and the muse, sc 20 pp, pts 4 pp each. $10.00. choice of tunes is exceptionally nice. can use many of the Folk music sounds beautiful on the re- Stent’s Four Favourites is a good intro- exercises for their most corder, whether played solo or with sim- duction to some literature not originally advanced students. ple accompaniment or in well-crafted en- written for the recorder. Gounod’s adap- semble settings, such as in these three

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Order your recorder discs through the ARS CD Club! The ARS CD Club makes hard-to-find or lim- Christmas,” Irving Berlin’s “White Christmas,” and ited release CDs by ARS members available other favorites such as “Jesu, Joy of Man’s Desiring,” to ARS members at the special price listed “Away In a Manger” and “What Child is This.” Uni- (non-members slightly higher), postage and verse Music. $17 ARS/$20 others. handling included. An updated listing of ____MINSTREL, MINNESINGER, MUSIKER High- available CDs may be found at the ARS web land Park Recorder Society & Chamber Orchestra, site: . Renaissance and Baroque, in live concert performance. EO Music Publishing. $17 ARS/$20 others. ____MUSICK ____MUSICK FYNE PLAYS MUSIC OF THE ITALIAN FYNE Alison RECENT ADDITIONS: BAROQUE Alison Melville and Colin Savage, ____THE AGE OF JOSQUIN: THE GRAND TOUR Melville and Colin Savage, recorders; with other members of Musick Fyne recorders, and members of Musick Fyne. Highland Park Recorder Society & Chamber Orches- (voice, harpsichord, lute/theorbo) and W. M. Gay, tra, Robert W. Butts, conductor. Music of Josquin’s $17 ARS/$20 others. cello. 17th and 18th century duos, trio sonatas, ____OCEANS OF LOVE with David Young, era plus popular music of five centuries. RWB arias, diminutions. Upbeat Classics. $17 ARS/$20 Productions. $17 ARS/$20 others. recorders. $17 ARS/$20 others. others. ____ORCHESTRA DEL CHIANTI with David Bellugi, ____AGUA E VINHO Rodney Waterman, recorder, ____NEO-MEDIEVAL Tina Chancey, Grant Herreid, Doug DeVries, guitar. Brazilian jazz/folk music. recorder. $17 ARS/$20 others. and Scott Reiss. Medieval improvs for a postmodern ____PERGOLESI: LA SERVA PADRONA with Elissa Orpheus Music. $17 ARS/$20 others. age. Dorian Discovery. $17 ARS/$20 others. ____BAROQUE RECORDER CONCERTI Scott Reiss Berardi, recorder. $17 ARS/$20 others. ____RENAISSANCE David Young, recorders. Plays ____PRIEST ON THE RUN with Piers Adams, and Hesperus. Golden Apple. $17 ARS/$20 others. 11 of his own compositions inspired by a trip to St. ____CELTIC ROOTS Scott Reiss, recorders, whistle, recorders. $17 ARS/$20 others. Peter's in Rome. Also includes "Con Te Partire" ____RECORDER BRAVURA with Piers Adams, hammered dulcimer; and Hesperus, featuring (Time to Say Goodbye), made famous by Andrea award-winning Scottish fiddler Bonnie Rideout; recorders. $17 ARS/$20 others. Bocelli. Universe Music. $17 ARS/$20 others. ____A. SCARLATTI: ISHMAEL (2-CD SET) Elissa Philippe Varlet, Irish fiddle; Bill Taylor, harps; Grant ____A. SCARLATTI: CONCERTI DI CAMERA Herreid, lutes, guitars, recorder; Tina Chancey, viol, Berardi, recorder; plus five singers and the Brewer Judith Linsenberg, recorders; with other members Baroque Orchestra. $33 ARS/$40 others. Irish fiddle, recorder. 17th- and 18th-century of Musica Pacifica. Seven sonatas for various Scottish, Irish, English and American traditional and ____SOMETHING OLD, SOMETHING NEW John instrumentations, “no poor relations to the com- Tyson, recorders, plays Baroque and contemporary parlor music from the earliest written sources. poser’s much more widely-known vocal out- Maggie’s Music. $17 ARS/$20 others. music. $17 ARS/$20 others. put....All recorder players should certainly have ____SPAIN IN THE NEW WORLD Rosa Lamoreaux, _____CHRISTMAS MORNING David Young, re- this, and fiddle players, too - you rarely hear such corders; Lisa Franco, celtic harp. Well-known Christ- soprano, with Scott Reiss, Tina Chancey, Mark perfect unison playing from two soloists!”—Early Cudek, Robert Eisenstein, and Peter Marshall. $17 mas music played on recorders and harp with other Music Review. $17 ARS/$20 others. Renaissance instruments, recorded in 3D Surround ARS/$20 others. ____SHINE AND SHADE Piers Adams, recorder; ® Sound. #2 Christmas recording in Canada in 1994. SUZUKI RECORDER SCHOOL (FOUR VOLUMES) Julian Rhodes, harpsichord. Works of Norman ® Universe Music. $17 ARS/$20 others. Recordings to accompany the Suzuki Recorder Fulton, Edmund Rubbra, York Bowen, Lennox School method books, with Marion Verbruggen, ____DISTRIBUTION OF FLOWERS Cléa Galhano, Berkeley, Edward Gregson, Stephen Dodgson, recorder; Tony Hauser, guitar. Latin CD featuring recorders. $17 ARS/$20 others, for each single CD, Donald Swann. $17 ARS/$20 others. ® works by Argentinian accordion virtuoso Astor or $33 ARS/$40 others for any two Suzuki CDs: Piazzolla. Ten Thousand Lakes. $17 ARS/$20 others. ALSO IN STOCK: ____Vols. 1 & 2 for Soprano: folk and children’s ____FOLIAS FESTIVAS 17th- and 18th-century folias ____BEYOND...CELESTIAL WINDS with David songs, Baroque dances from Spain, Italy, and France. Belladonna Baroque Young, recorder, and others. $17 ARS/$20 others. ____Vols. 3 & 4 for Soprano: Handel, de la Guerre, Quartet: Cléa Galhano, recorder; Margaret ____BLISS with David Young, recorders. $17 others Humphrey, Baroque violin; Rebecca Humphrey, ARS/$20 others. ____Vols. 1 & 2 for Alto: folk and children’s songs, Baroque cello; Barbara Weiss, harpsichord. Ten ____BLOCKFLÖTENENSEMBLE WIEN $17 ARS/$20 Baroque dances Thousand Lakes. $17 ARS/$20 others. others. ____Vols. 3 & 4 for Alto: Handel, J.S. Bach, Purcell, ____FRUIT OF A DIFFERENT VINE Alison Melville, ____CELESTIAL WINDS I with David Young, others Natalie Michaud, and Colin Savage, recorders; recorders. $17 ARS/$20 others. ____TELEMANN: CONCERTO FOR RECORDER A. Hall, piano. Works by Berkeley, Genzmer, ____CIRCULO MAGICO with Cléa Galhano, AND BASSOON, VIOLA CONCERTO IN G MAJOR, Hindemith, Leigh, Staeps, and others. Supported by recorder. $17 ARS/$20 others. SUITE IN A MINOR Philomel Baroque Orchestra the 1994 ARS Professional Recording Grant. S.R.I. ____A CURIOUS COLLECTION FOR THE COM- with Elissa Berardi, recorder. $17 ARS/$20 others. $17 ARS/$20 others. MON FLUTE Alison Melville and Colin Savage, Please indicate above the CDs you wish to order, ____I LOVE LUCETTE Scott Reiss, Tina Chancey, recorders; with other members of Musick Fyne.$17 and Jane Hershey, recorders and other early instru- ARS/$20 others. and print clearly the following: ments; Rosa Lamoreaux, soprano; Howard Bass, ____DANCE!: RENAISSONICS with John Tyson, Name ______lute. Charming, bawdy, and sentimental music from recorder, pipe & tabor. $17 ARS/$20 others. Daytime phone: (_____) ______the French Renaissance theatrical tradition. Koch ____DREAMS INSIDE THE AIR TUNNEL Zana Address: ______International. $17 ARS/$20 others. Clarke, recorder and composer. $17 ARS/$20 others. ____IMAGINE David Young, recorders. ____EARLY AMERICAN ROOTS Scott Reiss, City/State/Zip: ______recorders, hammered dulcimer, flageolet; Tina Contemporary interpretations of classic songs by Check enclosed for John Lennon, Cat Stevens, James Taylor, George Chancey, viol, Baroque violin; Mark Cudek, cittern, _____ single CDs x $____ = $______Harrison, Elton John and more. Universe Music. $17 Baroque guitar. $17 ARS/$20 others. ARS/$20 others ____FLEMISH CONTEMPORARY RECORDER _____ 2-CD sets x $____ = $______.____A JOURNEY AMONG TRAVELLERS (CD MUSIC, VOL. II Geert Van Gele, recorder. $17 TOTAL = $______SHORT) Peter Bowman and Kathryn Bennetts per- ARS/$20 others. Please charge the above amount to my MasterCard form Donald Bousted’s 26-minute quarter-tonal ____FOR NO GOOD REASON AT ALL Scott Reiss, or Visa: piece for two alto recorders. $12 ARS/$14 others. Bruce Hutton, and Tina Chancey. Golden Apple. ____LUMINOUS SPIRIT: CHANTS OF HILDEGARD $17 ARS/$20 others. #______Exp. Date: ______VON BINGEN Scott Reiss and Tina Chancey, ____THE GREAT EMU WAR Batalla Famossa, a Cardholder’s signature: ______recorders and other early instruments, plus Rosa young Australian ensemble. $17 ARS/$20 others. Lamoreaux, soprano. Fourteen chants by the ____HANDEL: THE ITALIAN YEARS with Elissa famous 12th-century German abbess, musician, and Berardi, recorder & Baroque flute. $17 ARS/$20 Mail to: AMERICAN RECORDER SOCIETY,Box 631, mystic. Koch International. $17 ARS/$20 others. others. Littleton, CO 80160-0631, U.S.A. You may fax _____MERRY CHRISTMAS David Young, recorders. ____LANDSCAPES with David Bellugi, recorders. (with handset down) or call in your credit card Full symphonic sound on John Lennon’s “Happy $17 ARS/$20 others. order to 303-347-1181. ARNov00up.qxd 11/7/00 4:08 PM Page 27

TUTTO IL DÌ, BY CIPRIANO DE RORE. MUSIC REVIEWS (cont.) London Pro Musica EML 342 (Magna- music), 1999. 3 voices or instruments, 3 collections. Intended for different levels Rather than short, straightforward sc, 4 pp each. $4.25. of players, each uses a different style of ar- arrangements of folk melodies, as in the QUAM PULCHRA ES, BY COSTANZO FES- ranging simple melodies for four re- last two publications, Frontier America TA. London Pro Musica LPM 509 (Mag- corders. Suite is a longer composition with four namusic), 1996. 4 voices or instruments, Many Sweet Pipes publications are in- movements, each a medley of familiar sc 4 pp, 5 pts (incl. extra bassus pt in tre- tended for educational use, but Hettrick’s 19th-century tunes. The movements can ble clef), 1 pg each. $5.00. arrangements of ten familiar tunes in The be performed separately or together total- CHI CHI LI CHI, BY ROLAND DE LASSUS. Isle of Gentle Airs are not for the usual ing 10-12 minutes. In his prefatory notes London Pro Musica LPM 508 (Magna- school ensemble. They require players the composer (who has a Ph.D in musi- music), 1995. 6 voices or instruments, sc who know most of the fingerings and ba- cology and is retired chairman of the mu- 8 pp, 6 pts, 2 pp each. $7.00. sic rhythmic patterns, so adults new to sic department at Quincy University) O LA, O CHE BON ECCHO, BY ORLAN- ensemble playing will enjoy them as writes, “A tour by the Quincy [Illinois] DO DI LASSO. London Pro Musica LPM much as young people. The settings are Early Music Consort in Germany inspired EML 340 (Magnamusic), 1998. 8 voices largely homophonic with the melody in me to compose a suite based on tunes (2 choirs), Full sc 6 pp, 4 sc each choir, 2 the soprano, but relief is provided with which, while they may be recognized by pp each. $8.50. echo effects in “Annie Laurie,” and “Auld Americans, may not be familiar to other EXAUDI DEUS , BY GIOVANNI GABRIELI. Lang Syne” and with the soprano drop- people.” In the first movement, “House London Pro Musica LPM 506 (Magna- ping out entirely in the B section of “The Party,” he uses old fiddle tunes, and in the music), 1995. 7 voices or instruments, sc Ash Grove.” In “Ye Banks and Braes,” the second movement, “Revival Reflections,” 7 pp, 12 pts (incl. some extra in C and F melody of the middle section is tossed be- early American hymns. The third move- clefs), 1 pg each. $7.50. tween the bass and alto, and in “The Blue ment, “Westward, Ho!” features songs of CANZONE SECUNDA A 6, BY GIOVAN- Bells of Scotland” passagework in the the gold rush, and the last movement, NI PRIULI. London Pro Musica LPM lower three parts contrasts with the fa- “Goin’ A-Courtin’” returns to the party ADC68 (Magnamusic), 1998. SSSATTB, miliar melody. Hettrick’s most interesting theme of the first movement with familiar sc 12 pp, 9 pts (incl. some extra in C and arrangement, however, is that of “Green- play-party songs. The melodies are usual- F clefs), 1 pg each. $8.00. sleeves,” where the tenor takes the ly in the top part embellished with lots of CANZONE A 7, BY GIOVANNI PRIULI. melody with the other parts playing sixteenth-notes, requiring agile fingering London Pro Musica LPM ADC71 (Mag- chords based on a descending ground throughout the entire range. The other namusic), 1998. SSATTB, sc 8 pp, 10 pts bass pattern. parts are somewhat easier but fun to play (incl. some extra in C clefs), 1 pg each. The Latvian songs are not much more because of the variety of textures and $8.00. difficult to play but provide more interest rhythms. The arranger provides welcome These compositions were played with in the individual parts. The first piece, changes of sonority in the third move- pleasure in my classes and in the faculty “Lustige Kahnfahrt” (Merry Boat Ride), ment, where the top part player switches concert at the Tucson Workshop 2000. gives all players an opportunity to play between tenor, sopranino, and soprano The number of parts in these pieces running eighth notes. The second song, and the second part player switches be- ranges from three to eight, and some of “Schwesterlein im Rosengarten” (Little tween bass and alto. Similarly, in the sec- the editions furnish alternative parts in C Sister in the Rose Garden), is a quiet piece ond movement, the composer suggests or F clefs. All of the pieces work well on with the melody in the top part support- replacing the soprano recorder, which recorders, but two of the easier ones, Tut- ed by interesting chromatic harmonies. has the melody, with a cornemuse, to il di by de Rore and Quam Pulchra Es by The last one, “Wilde Jagd” (Game Hunt), crumhorn, or other eight-foot instrument Festa, require the two top parts to be has strong march-like rhythms, usually with a contrasting tone color, but we felt played on altos up an octave. Therefore, played by three of the parts with the third it worked fine with all recorders. This they are not appropriate for an ensemble one moving in eighth notes. With their suite “brought down the house” when I that includes beginners. The de Rore contrasting moods and styles, the three presented it to the Boulder Chapter, and piece is a madrigal (unusual because it is pieces would be effective if performed as several copies were ordered by members in three parts rather than four or five) a suite. The titles and expression mark- afterwards. What better endorsement can from a 1549 collection of instrumental ings are in German and the original Lat- there be? music and was one of the class favorites. vian titles are given in the brief Preface, but regretfully there is no English transla- tion. Like the Sweet Pipes edition, this is Rather than short, straightforward arrangements clearly printed in score form, but at least of folk melodies, Frontier America Suite is a two copies are necessary for playing. longer composition with four movements, KEY: rec=recorder; S’o=sopranino; S=soprano; A=alto; T=tenor; B=bass; gB=great bass; cB= contra each a medley of familiar 19th-century tunes. bass; Tr=treble; qrt=quartet; pf=piano; fwd= fore- word; opt=optional; perc=percussion; pp= pages; This suite “brought down the house” when I sc=score; pt(s)=part(s); kbd=keyboard; bc=basso continuo; hc=harpsichord;P/H=postage and han- presented it to the Boulder Chapter, and several dling. Multiple reviews by one reviewer are followed by that reviewer’s name. copies were ordered by members afterwards.

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Breaking Through was written by the MUSIC REVIEWS (cont.) American composer Gloria Coates, a good composer who has unfortunately The more serious Quam Pulchra Es, a “dizi” flutes—one in D, the other in A- given us a not-so-good recorder piece. motet with text from the Song of flat—with vibrating membranes (these This is partly (but not entirely) due to Solomon, may have been conceived in last instruments may be homemade). The Coates’ lack of information about and three voices with the more elaborate altus recorder player employs sopranino, so- awareness of modern recorder music. part added later, so it can be played as ei- prano, bass, and great bass recorders as According to the composer’s preface, ther a trio or quartet. well as a set of four temple blocks and Coates “experimented with various play- The two works by Lassus (Lasso) were three small cymbals. ing techniques” and the resultant sounds big hits at the workshop. Chi Chi Li Chi is The extensive and extremely well writ- “became a part of (her) means of expres- a six-part expansion of a three-part ten preface indicates that Marbe’s main sion, an expression that seemed to sug- moresca (a lively vocal piece with text par- influences were, on the one hand, the gest the feeling of breaking through ob- odying the dialect of Africans living in Byzantine church music and rural folk stacles and barriers.” In fact, the devices 16th-century Italy) by Giovan Domenico music of her native Romania, and, on the she uses most plentifully throughout the da Nola. Lasso groups the six parts in var- other, modern music techniques. A de- piece—the multiphonic, the glissando, ious combinations with echos and over- scriptive phrase in the preface used to and the flutter tongue—are among the lapping melodies, making it fun to play at characterize Marbe’s music in general is most well worn clichés of modern re- a fast tempo even without the naughty quite applicable to this particular piece. It corder music and have been since they nonsense words! Echos are also a feature states that her music “moves in gener- were first used in the 1960s. Far from be- of O la, o che bon eccho, a humorous dou- ously measured waves, apparently free in ing the means to an expression, as the ble-choir piece in which the second choir time, as if it were floating.” Some sections composer claims, they are presented echoes the first throughout. Since each of the work are unmetered and free but pretty much as ends unto themselves. choir has exactly the same music, it is other sections are in strict time and re- Other than that, the work presents a se- easy to rehearse and put together. quire a high degree of synchronization. ries of episodes, each with its own identi- Giovanni Gabrieli’s seven-part Exaudi There is an aura of ritualization, especial- fiable components. The language is aton- Deus, with text taken from the Psalms, is ly in the quieter moments and when the al (not strictly 12-tone) and the rhythms transposed up a fifth in this edition from musicians change instruments. It is virtu- are pretty straightforward, except for a its original very low range so that it can be ally impossible to discuss the musical few free unmetered sections. The last played on A A T T B B B recorders, result- language of this piece except to say that it page of the score offers a kind of synopsis ing in a beautiful deep sonority. Gabrieli’s is eclectic. Much of the writing consists of of what went on before. student, Giovanni Priuli (c.1575-1629), layered events (somewhat like Hirose’s By contrast, the Mexican composer composed the canzonas reviewed here. writing in Lamentations), simultaneities, Ana Lara has written a beautiful work of Modeled after those of his teacher, they and simple homophony. great sensitivity and lyricism mixed with were intended for church use. Besides his The edition is in file form and is beau- what she refers to as “ironical passages.” six- and seven-part pieces used at Tucson, tifully printed. This music is suitable for Icaro (Icarus) unfolds before the listener a more elaborate eight-part canzona by professionals or conservatory students. like an ancient scroll, telling a story of Priuli is published in this series (LPM mysticism and wonder. Lara uses the ADC75). All have an additional optional BREAKING THROUGH, BY GLORIA same above-mentioned extended tech- “bassus ad organum” part that follows COATES. Moeck EM 1590 (Magnamusic), niques but sparingly and with good mu- the lowest sounding part throughout 2000. A, sc 3 pp. $13.00. sical effect. Melodically, Icaro presents an (basso seguente). In these pieces Priuli ICARO, BY ANA LARA. Moeck EM 1591 eclectic range of motifs, all of which are made early use of the tempo markings (Magnamusic), 2000. A, sc 1 p. $12.00. developed (or at least modified) indepen- “presto” or “tardo.” In the six-part can- These new solo works from Edition dently of each other as the piece goes zona, for instance, the “presto” sections Moeck offer a study in opposites. along. Strange exotic modes abound, and are imitative in texture while the “tardo” the rhythmic content obviously suggests sections are largely homophonic. Priuli’s a very free performance. seven-part canzona was chosen by the In Icaro, the Mexican Both editions are beautifully printed Tucson Workshop faculty, using a combi- composer Ana Lara has and have no page turn problems. Both nation of viols and recorders, for a grand written a beautiful work have extensive and well-written prefaces. finale to their concert. Pete Rose Constance M. Primus of great sensitivity and lyricism mixed with what TWO SONATAS, OP 1, NOS. 7 & 10 ARC EN CIEL, BY MYRIAM LUCIA MARBE she refers to as “ironical (1716), BY FRANCESCO GEMINIANI. Broek- (1931–1997). Edition Moeck 1589 (Mag- mans & Van Poppel 1649, 1996. A, bc, sc namusic), 1999. See below for instru- passages.” Icaro (Icarus) 14 pp, pts 8 pp. Abt. $10, plus P/H. mentation. 2 sc, 10 pp each. $22.00. unfolds before the listener Francesco Geminiani was one of This long and fascinating work is not Corelli’s most accomplished pupils who so much a duet for flute and recorder as it like an ancient scroll, made a career across Europe as a violinist is one for the flute and recorder families. telling a story of and composer. Although he wrote well The flautist doubles on piccolo, flute, al- mysticism and wonder. for winds in some of his orchestral music, to flute, bass flute, and two Chinese his chamber music was intended only for

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strings. The Baroque was the great age of transcription, however, and the Amster- dam firm of Le Cène published a collection of six sonatas for recorder and continuo in 1726 or 1727 featuring arrangements of four violin sonatas of Pietro Castrucci and of Nos. 7 and 10 from Geminiani’s Opus 1 violin sonatas. While Geminiani’s sonatas are, of course, idiomatic violin pieces, their effect depends as much on his melodic and, especially, his harmonic imagination as on the instrumental color, and the sonatas work quite well in transcription for recorder. Thiemo Wind reports that the anonymous 18th-century arranger stayed quite close to Geminiani’s original, simply changing the key of the sonatas and transposing some passages by an octave. Wind has restored Gemini- ani’s original reading in one or two places where there seemed to be no good reason for the original arranger to have made a change. The Sonatas are really quite original in effect, but they have more in common with Telemann’s humorous and innova- tive style than they do with Handel’s singing lines. There are passages of fast sixteenths but nothing more difficult than the most challenging passages of Handel or Telemann. Care is taken to avoid page turns in the parts, and Wind’s few additions of slurs and trills are stylish and clearly marked. The continuo realization is similarly musical and idiomatic. Those looking for some variety after becoming familiar with the standard Baroque sonata fare will find these works of great interest, whether for amateur or professional use.

TWO SONATAS (1610), BY GIOVANNI PAOLA CIMA, ED. THIEMO WIND. Broek- mans en Van Poppel 1621, 1993. S or T or violin or cornetto, bass instrument ad lib., bc. Sc 15 pp, pts 4 pp ea. Abt. $8.00, plus P/H. Cima was a Milanese composer of the early Baroque who, along with Castello, Fontana and others, was among the first to explore the new genre of the sonata. These two works come from Cima’s collection of 1610, Concerti Ecclesiastici, which features a mixture of vocal and instrumental pieces. The first of these sonatas was marked originally for cornet- to and trombone or violin and violone, while the second was marked for violin and violone. However, the writing does not preclude other instruments, including recorder. Thiemo Wind marks the ob-

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bligato bass part as optional since, in the Eyck’s collection as well as the three vol- style of the time, it is frequently doubled umes of Pieter Meyer’s ’T Konstigh Speel- by the continuo. While the music is tooneel (or “The Skillful Player’s Stage”). playable in this fashion, there are many Meyer was a violinist, originally from places where the upper voice has several Hamburg, who worked for several years bars of rest, and it would be ideal for the in Amsterdam. bass to have a more soloistic character in Unfortunately, all that remains of ’T these spots. Cima’s writing is dramatic Konstigh Speeltooneel are three uncut and colorful although he rather unusual- sheets from the middle of the printing ly stays in duple time throughout both process containing 19 solos and three sonatas. The level of difficulty is about duets, of which the duets and all but six that of Frescobaldi’s Canzonas, without of the solos are presented in this edition. the virtuosic flourishes of Castello or As a violinist, Meyer wrote his variations Fontana. However, there are certainly primarily for his own instrument and enough extended sixteenth-note pas- bass. However, in the manner of the time, sages to sink one’s teeth into, as well as the original edition leaves open the possi- some passages in quick alternation be- bility of performance by other instru- tween the parts. ments, and editor Wind has presented Wind’s historical background notes those pieces here that best fit the recorder (including a detailed critical report) are (sometimes making octave transposi- helpful, but there is little advice concern- tions), though he has not supplied a bass ing performance practice. The continuo part. This somewhat artificially makes the realizations are a little more melodic than music fit the familiar mold of van Eyck’s usual, but this will be a benefit in the ab- collection, but to be fair the bass parts sence of a separate bass instrument. were likely not much more than simple There is no separate continuo bass part, harmonic underpinnings, and the music but presumably any available melodic in- stands up very well without them. strument would play from the obbligato Meyer’s variations are much less am- Herbert bass part. The parts are helpfully set up to bitious than van Eyck’s, though they are avoid page turns. Those who have en- tuneful and avoid the excessive motivic Paetzold joyed Frescobaldi’s writing in this genre repetition that is always the potential Square Bass will certainly want to explore these weakness of the style. Most of the quick- sonatas of Cima. note motion is in eighth notes, but in a re- Recorders versal of van Eyck’s practice, the duets are ’T KONSTIGH SPEELTOONEEL generally more active than the solos with Modeled after an organ pipe, four sizes are now available: bass (1657-1660), BY PIETER MEYER, ED. a smattering of sixteenths and real inde- in F, great bass in C, contrabass THIEMO WIND. Broekmans en Van Poppel pendence of the two parts. in FF, and sub-contrabass in CC. 1622 (www.broekmans.com), 1993. S B.&v.P.’s presentation is good with These relatively inexpensive and SS, sc 19 pp. Abt. $7.50, plus P/H. large, clear noteheads and no difficult instruments have a unique design Jacob van Eyck’s famous collection, page turns. A helpful preface and critical and an impressively strong, rich Der Fluyten Lust-hof, is only the best notes are provided but unfortunately no tone, even on the lowest bottom notes, with a quick and light known of several similar collections of help with the origins of the various tunes. articulation over an easy variations on popular tunes for melody Those who have enjoyed van Eyck’s mu- two-octave response. instrument published in Holland in the sic will want to investigate this collection mid-1600’s. The center of this composi- for curiosity’s sake or as a tuneful and I’m now a Mollenhauer tional activity was Amsterdam publisher playable introduction to the style. Dealer. Contact me for Paulus Matthysz, who published van Scott Paterson lowest US prices. Bill Lazar, Exclusive Unfortunately, all that remains of Pieter Meyer’s N. American Distributor 1377 Bluebird Ct. ’T Konstigh Speeltooneel are three uncut sheets Sunnyvale, CA 94087 (408) 737-8228 (phone & FAX) from the middle of the printing process containing E-mail: [email protected] 19 solos and three duets, of which the duets and http://members.aol.com/ jblazar/paetzold.html all but six of the solos are presented in this edition.

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______Q & A ______Indigenous American music and recorder orchestras

UESTION: I am interested in indigenous phy through 1981 (Washington, D.C.: QAmerican music, especially music of na- Archive of Folk Culture, Library of Con- tive tribes in the United States and Canada gress, 1983). and Quechua flute music. Please recommend Quechua Indians, inhabiting the An- some editions of melodies in those categories dean highlands of Peru and Ecuador, are that are playable on recorders. Also, where descendants of the pre-Columbian Incas. can I find bibliographies listing collections of Their native flutes are the quena (notched indigenous North and South American mu- flute) and antara (panpipes). An extensive sic?—Paula Roga, Elmhurst, New York collection of Quechua melodies is included in Raoul and Marguerite d’Harcourt, La NSWER FROM CAROLYN PESKIN: During Musique des Incas et ses Survivances (Paris: A the past decade, Susato Press (Rt.1, Librairie Orientaliste Paul Geuther, 1925). Brasstown, NC 28902) published a series Although the text is in French, the musical of editions containing hundreds of indige- examples are easy to read, and many of nous melodies from the United States and them are playable on soprano or alto re- Canada, transcribed by Daniel Chazanoff corder without transposition. For a list of for soprano recorder or flute. These edi- other references on Quechua music, most tions are available from some of the dealers of them in Spanish, see the bibliography that advertise in American Recorder. Anoth- following the entry on “Peru” in Vol. 14 of er recent edition, for soprano recorder or the New Grove Dictionary of Music and Mu- Native American flute with drum and/or sicians (London, 1980). References on the rattle accompaniment, is Bryan Burton music of other South American tribes as with Maria Pondish Kreiter, Voices of the well as Central American tribes can be Wind: Native American Flute Songs, pub- found in the entry on “Latin America” in lished in 1998 by World Music Press (Box Vol. 10. 2565, Danbury, CT 06813). If you are interested in primary sources UESTION: I am planning to form a (collections of melodies recorded in the Q recorder orchestra in my community field and notated by ethnomusicologists), and would like a few pointers from somebody I would recommend the many mono- familiar with recorder orchestras. Ideally, how graphs written by Frances Densmore be- large should the group be? What sizes of re- tween 1910 and 1957 for the Smithsonian corders and how many of each size would you Institution’s Bureau of American Ethnolo- recommend? We are also considering adding gy. These monographs, published by the strings, either viols or members of the violin Government Printing Office in Washing- family. Is that a good idea? If so, what would ton, D.C., and reprinted by Da Capo Press be an acceptable ratio of strings to re- in 1972, can be found in college and uni- corders?—D. E. N., Cleveland, Ohio versity libraries. Collections by other ethnomusicologists, dating from the 1880s to NSWER FROM KEN ANDRESEN: There are the 1980s, are listed in the New Grove Dic- A a number of particulars that transform tionary of American Music (New York, a large group of recorders into a recorder 1986). Look in the bibliography following orchestra. First is the use of the extreme the entry on “Indians, American, Music” sizes—sopranino, great bass, and contra- in Vol. 2, and the bibliographies following bass. These additional instruments supply the entries on the individual tribes. Collec- the increased tonal range necessary to per- tions of Native American melodies are also form actual orchestral music and are the listed in Marsha McGuire’s American Indi- main ingredients in creating the recorder an and Eskimo Music: A Selected Bibliogra- orchestra sound. Second, the music must be arranged so as to take advantage of these added instruments. Typical recorder or- Send questions for Q&A to Carolyn Peskin, Q&A Editor chestra arrangements call for ten, eleven, Strathavon Road, Shaker Heights, OH 44120 and twelve discrete parts, organized using [email protected] various numbers of each instrument. Recorder orchestras vary in size. A min-

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Q & A (cont.)

Courtly Music imum of about 16 players is probably nec- the Recorder Orchestra of New York, we Unlimited essary to begin an orchestra. On the other have decided not to specialize in that way. hand, I have conducted orchestras of 80 or While this decision gives rise to logistic 800-2-RICHIE so players at workshops and have found and intonation problems, with which we (800 274-2443) the sound to be very gratifying indeed. The must continually cope, we find it more balance of the instruments is determined gratifying musically to play different in- www.courtlymusic.com to some degree by the arrangement and ad- struments in the course of rehearsals and ditionally by the number of players as- concerts. This has been our decision. "Everything for the recorder signed to each part. In my experience, few- Whether or not to specialize is a decision enthusiast, or those who er of the highest and lowest instruments each group must make for itself. would like to be." (particularly the highest) are needed to Before every concert season, a great maintain good overall balance. (Of course, deal of time goes into determining who will Fine wood and plastic recorders, sheet finding sufficient numbers of great bass play what part on each piece. All players music, method books, play-along CDs, and contrabass recorders can be a chal- are expected to be able to play every size of accessories, workshops. lenge.) In an orchestra of 20 members, a recorder except where physical limitations

good division might be 1 sopranino, 2 so- make that impossible. (Our orchestra has pranos, 4 altos, 4 tenors, 4 basses, 3 great decided not to use strings. We have basses, and 2 contrabasses. enough recorders to cover all the parts and When mixing recorders with strings, maintain proper balance.) one would have to predetermine whether Assignment of parts is based upon equal balance was desired or whether one piece needs, player capabilities, balance or the other was intended to predominate. demands, and the idea of giving everyone However, if the group is to remain a re- a chance to play all the instruments he/she corder orchestra, the strings should as- is capable of playing at some point in time. sume a supporting role, allowing the re- Finally, as with any group, careful thought corders to predominate. Therefore, using must be given to how well the members our previously mentioned number of 20 can work together. This element can play a recorders, I would recommend no more crucial role in the success of the recorder than 4 or 5 strings. When great basses and orchestra. contrabasses are in short supply, viols can I send my best wishes to you in your re- be successfully substituted for those in- corder orchestra adventure and would be struments, and viols can also be nicely in- most happy to be of any possible further corporated into a playing session even assistance to help insure your success. when low recorders are present. Modern bowed strings, though, present a problem Ken Andresen is the founding director of because they tend to be overbearing. Play- the Recorder Orchestra of New York, which ing them softly enough is a struggle. One has been performing since 1994, and has cello, for example, can balance out quite a taught recorder orchestra in workshops few recorders. throughout the United States. He also pub- A word about organization might be in lishes music for recorder orchestra under the order. The recorder orchestra tradition banner of Polyphonic Publications and is an comes to us from England, where players “unabashed evangelist for the cause of the tend to specialize in one recorder only. In recorder orchestra.”

SWEETHEART The recorder orchestra tradition comes to us from FLUTE CO. England, where players tend to specialize in one Baroque Flutes: our own recorder only. In the Recorder Orchestra of New York, “Sweetheart” model Fifes, Flageolettes “Irish” Flutes & Whistles. we have decided not to specialize in that way. Send for brochure and/or antique flute list. While this decision gives rise to logistic and intonation

32 South Maple Street problems, with which we must continually cope, Enfield, CT 06082 (860) 749-4494 we find it more gratifying musically to play different [email protected] www.sweetheartflute.com instruments in the course of rehearsals and concerts.

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ON THE

______CUTTING EDGE ______CD picks for the 1990s

As On the Cutting Edge approaches its lo music) to compositions published by CHAMBER MUSIC WITH MIXED 10th birthday, it seems an appropriate time Mieroprint. Horacio Franco’s solo CD, INSTRUMENTS: The two volumes of to do a bit of reflecting. In writing this col- simply titled Horacio Franco (Serie Siglo Kasseler Avantgarde-Reihe would be the umn, I have tried to keep up with things in XX), may arguably be the finest available first place to go. Volume I contains a su- the world of modern recorder music, and recording of new solo music, but the perb performance of Ryohei Hirose’s Pota- that has sometimes led to changes in the pieces on it are all by Mexican composers, laka for alto recorder, harp, and cello. column’s focus. For example, within the mostly unpublished, and relatively eso- Volume II has an equally fine perfor- past five years Cutting Edge has turned to teric. Franco’s interpretation of these mance of Sappho’s Tears for female voice, the profiling of CD recordings more often works is absolutely incredible! There is in- tenor recorder, and violin by Calliope than was the case in its first half decade. teresting music, too, on Geert Van Gele’s Tsoupaki. Another excellent source is This was a logical development, since CDs CD Flemish Contemporary Recorder Music, Blockflöte Modern II (Flautando FR D 002) of modern recorder music are, if not prolif- Volume II (René Gailly CD 92 031). John featuring the compositions of Gerhard ic, certainly much more available than they Turner’s double CD, John & Peter’s Braun. Braun’s Vier Interluden for recorder were five years ago. Since they are “hard ev- Whistling Book (Forsyth FS 001/002), will and percussion is beautifully performed by idence,” so to speak, they should certainly serve well as an introduction to new music Martin Heidecker and Helge Daferner. be one of the topics of most interest to in the more conservative British tradition. Another fine work, the 15-minute long readers. Benjamin Thorn’s Songs of Love & Mar- Omnia tempus habent, features the duo of In this edition of the column, I will at- riage (Move MD 3219) contains five of this Johannes and Renate Fischer, utilizing Re- tempt to provide a brief but useful “listen- exciting Australian recorderist’s pieces in- nate’s uniquely diverse talents as dancer, ers guide” to modern recorder music of the cluding the electrifying Voice of the Croco- singer, and percussionist. 1990s. While some of the recordings men- dile. Anyone wanting to hear the most ex- RECORDER WITH ORCHESTRA (or tioned below have been extensively pro- treme solo music possible on the recorder just strings): Dan Laurin’s CD The Swedish filed in On the Cutting Edge, others have should get a copy of Blockflöte Modern I Recorder is the uncontested choice. It is not been mentioned at all. But even if they (Flautando FR D 001) featuring the play- possibly the finest recording of any mod- had all been thoroughly examined, anyone ing of Johannes Fischer. Fischer performs ern recorder music made in the past seeking to develop a similar selected list of Mathias Spahlinger’s Nah, Getrennt, a gar- decade. The four large-scale works fea- recordings based on information gained gantuan and monstrously difficult micro- tured here are conservative in style, but from previous editions of On the Cutting tonal work in 16th tones. they are beautiful, finely crafted, and bril- Edge would have to do quite a bit of re- RECORDER ENSEMBLE: If this is liantly performed. search. For that reason, I am now offering your passion, go directly to Pictured Air If you own this recording and would this more user-friendly format. (Channel Classics CCS 8996) by the Ams- like to hear a bit more of the same, check In listing and commenting on these terdam Loeki Stardust Quartet. This CD is out the Concerto for Recorder, Strings, Celes- CDs, I’ve found it necessary to place them a monumental and definitive statement on ta and Vibraphone as performed by Laurin in seven musical categories. I believe these the subject. If you already have that record- on a CD of concertos by Vagn Holmboe will be helpful to the readers in sorting ing, you might want to get Novacento (BIS CD-911). things out, though, I must admit, the ra- (DDD CD 92 004) by the Flanders Re- Another good example in a similar vein tionales for these categories are not entire- corder Quartet, which has some nice is David Bellugi’s recording of A. Riccardo ly consistent. pieces (all by Belgian composers) that are Luciani’s Concerto di Anacro for recorder, SOLO MUSIC (with and without key- expertly played. piano, percussion, and orchestra. It can be board accompaniment): Julia Whybrow’s CD Weeds in Ophelia’s Hair (Cadenza CAD 800 911) will, perhaps better than any oth- Dan Laurin’s CD The Swedish Recorder is possibly er recording, give you an idea of what the current scene in modern solo music is the finest recording of any modern recorder music about, both in terms of repertoire and standard of performance. made in the past decade. The four large-scale works Volume I and Volume II of Kasseler Avantgarde-Reihe (Mieroprint EM 6002 featured here are conservative in style, but they are and 6003) also contain exemplary material, but they are restricted (at least in the so- beautiful, finely crafted, and brilliantly performed.

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CUTTING EDGE (cont.)

heard on the CD Orchestra del Chianti (Frame CD FR 01C93). ELECTRO-ACCOUSTIC: No contest here either. Ulrich Pollmann’s CD Different Density (Mieroprint 6001) is absolutely definitive. Also brilliant but idiomatically less adventurous than Pollmann’s music is a single composition called No Mercy for am- plified tenor recorder, tape, and live elec- tronics by Staffan Mossenmark. It can be heard in a wonderful performance by Dan Laurin on The Swedish Recorder CD. For the most extreme example of this kind of music, have a listen to Diamant by Frank Schweizer (on Blockflöte Modern I). This piece features Johannes Fischer performing on tenor and great bass recorders with an interactive computer. Fischer also plays his “Recorder Installation” on this track— a Rube-Goldberg-like invention that allows him to play a large number of recorders at once. POPULAR AND JAZZ REPERTOIRE: In good conscience, I can only make a single recommendation in this category. The performance of Daniel Masuch’s tune “Brissago” by Iris Riedesel on bass recorder accompanied by the composer on piano (on the Mieroprint CD Kasseler Avant- garde-Reihe I) is a good jazz performance. Masuch’s tune is beautiful and extremely sophisticated. MODERN CLASSICS: This category is essential, because the important works of previous decades were rarely recorded in their own time. Best recordings include Ju- lia Whybrow’s performances of Gesti by Luciano Berio and Alrune by Roland Moser, both on her CD Weeds in Ophelia’s Hair. This recording also includes a rendi- tion of John Casken’s Thymehaze, but that performance is surpassed in spirit and expression, if not in perfection, by the version on Kasseler Avantgarde-Reihe performed by the little-known Nadine Heydemann. Dan Laurin’s CD The Japanese Recorder contains both new and classic works, but Laurin’s best playing occurs on two chest- nuts: Fragmente by Makoto Shinohara and Meditation by Ryohei Hirose. And don’t miss the superb performance by Andrea Buchert of Gerhard Braun’s Monologe I on Blockflöte Modern II. That’s it! Those are my picks. If I’ve ne- glected your favorite, please remember that these choices only reflect my opinion. Pete Rose

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OPENING MEASURES ______Nerves

Musicians of all levels perform. For those in performance, so that you will become know the notes and are ready to really who do so infrequently it can be a very fear- familiar with their quirks.) focus on technique. ful experience. Some find it terrifying yet 2) The better you know the pieces you Besides practicing specific techniques, strangely addictive. But regardless of level will be performing, the more prepared you also practice skills such as playing by heart, or frequency of performance, almost all will feel. playing by ear, and improvising. performers must figure out how to deal 3) The better you know the actual play- with performance anxiety, or nerves. ing situation you will encounter, the more Knowing the pieces People react to performance nerves in prepared you will feel. Know the pieces of music that you will different ways: some tremble, some lose perform inside and out. You should be able control of breathing, some feel queasy, or Comfort with your technique to hum them (anything you can sing you even vomit, some get sweaty or cold hands Practice recorder technique every day. can play). Learn the bass line of your or cold and sweaty hands. Shaking fingers, Even if you do only a little bit, your tech- sonatas, play the other voices of ensemble dry mouth, overly wet mouth, racing heart, nique will gradually improve and you will music. Play your own part a lot, even learn- rapid shallow breathing, feelings of faint- feel ever more comfortable and confident ing it by heart (whether or not you plan to ness, memory blackout (when performing on your instrument. perform it by heart). If you listen to your by heart), emotional horrors (“what am I Recorder technique consists of breath- sound, articulation, phrasing, and all the doing here? How can I get out of this? I’ll ing and blowing, fingering, and tonguing. I other aspects of music while practicing, never do this again!”—only to sign up for suggest dividing your daily practice time you will not over-practice and burn out. another performance soon afterward). into three segments: use the first segment Some or all of these symptoms will be fa- for technique work, the second for etudes Knowing the playing situation miliar to most players. (or working on technical problems in your If you can, go to the place where you The nerves themselves are not the prob- pieces), and the third for playing music. will perform a few days before the concert. lem. It is the myriad of physical symptoms Work with a good recorder teacher to Learn where you will stand, what the hall and mental reactions that create playing develop good recorder technique. Your sounds like—even better if you can play a problems and anguish. teacher will be able to guide you, helping little in the room. Check out the lighting. I cannot tell you the one true answer to choose which techniques to focus on at Surprises like poor light or an acoustic that this problem of nerves, but I can tell you any given time and what types of exercises whisks the sound upward so you hardly my own answer, found through years of to do to improve techniques and learn new hear yourself or your fellow musicians can performing and much thought and experi- ones. If you don’t have access to a good re- really throw you off. mentation. corder teacher (and vast portions of our The technique of handling perfor- Let me begin by saying that although country are devoid of recorder teachers, mance anxiety that has helped me the many have found relief through drugs good or bad) use a good technique book. most is visualization. I imagine myself per- called beta blockers, I will not address that My favorites are my own, The Recorder Play- forming in the hall, playing each piece in here. I always had a wish to come to terms er’s Companion, which can be used by play- my mind. I try to imagine very clearly how with myself and felt that there must be a ers of any level (I use it with beginners and I would like to feel (not how I fear I will way to call a truce with these terrible for levels all the way up to my own tech- feel). I imagine how I want my audience to nerves, and find a way to perform enjoy- nique maintenance), and Walter van feel and react to my playing. I imagine the ably. Others may have greater problems Hauwe’s The Modern Recorder Player (three feeling of playing in perfect ensemble with and need extra help. That is for them to volumes), which is good for players who my other musicians. decide. Even if things turn out a little different- I think the most effective way to prevent The technique of handling ly than I have imagined, the visualization nerves is to make sure that you feel pre- really helps me. It allows me to feel in con- pared. There are three areas of preparation performance anxiety that trol of my reactions and no longer at the to consider. has helped me the most is mercy of the Nerve Monster. Just remem- 1) The more comfortable you are with ber to do visualization in a quiet place, and your recorder technique—knowing you visualization. I imagine to do the whole process calmly. We are not have worked on the various aspects of myself performing trying to obsess! technique and are making continual (even And now I must stop writing: I have a if gradual) progress—the more prepared in the hall, playing performance tomorrow and am beginning you will feel. (It is valuable to practice on each piece in my mind. to feel anxious.... the particular recorders you will be using Frances Blaker

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American ______RESPONSE Recorder ______Soloists ______Members of the American Small correction and large concerns Recorder Society Burgess correction ED. NOTE: While waiting for the next article The American Recorder Society My congratulations to Scott Paterson on using recorders in church (which probably enriches the quality of individual and for his interesting article on “Anthony won’t be long to wait), newer readers might community life through the promotion and Burgess: The Man and his Recorder Music" like to refer back to “Recorders in Church,” a encouragement of playing the recorder. For more information, contact us at Box 631, (AR, September 2000), which demonstrat- triptych of articles in the November 1997 AR, Littleton, CO 80160, USA; 303-347-1120; ed well the extent of the novelist’s involve- “Recorder Group, Will Play for Donuts” by [email protected]; http:// ment with music (and the recorder). One Sheila Beardslee and Laura Conrad (May ourworld.compuserve.com/homepages/recorder. small correction from my own experience: 1996), and Darren Holbrook’s “Blow, DEBORAH BOOTH Burgess’s Third Symphony was performed Gabriel, Blow!” (January 1996). Articles in Recorder and flute. “Musically expres- in 1974 by the The University of Iowa Sym- back issues of AR may be searched on the Web sive, a delight to hear.”—Trenton Times “Technically precise and delicate.”— phony Orchestra in Iowa City, Iowa, under at , the fax-back Early Music Newsletter, NYC the direction of James Dixon, not by “the service of The UnCover Company. A complete BREVE, 311 W. 100 St. Iowa City Symphony.” I know, because as index for American Recorder, including de- #4, NY, NY 10025; an impecunious graduate student at Iowa I partments, news reports, and reviews, has 212-864-6490; was one of the two copyists for the parts of been compiled by Scott Paterson and is avail- [email protected]; this symphony (the main copyist being Dr. able from the ARS (see listing on page 38). www. panix.com/ ~felicia/breve Robert Paul Block, who should be known to readers through his many editions and AR on the Internet PATRICK O’MALLEY continuo realizations for Musica Rara). Congratulations. Making American Re- American premiere of Concerto for Recorder and String Orchestra by The piece was in the English pastoral corder available to members on the Inter- Christopher Ball; Netherlands strain, at times reminding me of the work net is a good step forward [Editor’s Note, Fulbright Grant of Arnold Bax, as the composer agreed at September AR, page 1]. Using sound files 1457 W. Catalpa 3E, the time. will surely enhance the articles. And if its Chicago, IL 60640; David Lasocki, Indiana University availability begins to show up on search 773-293-3138 Bloomington, Indiana engines, it may perhaps bring in new members. Recorders in church Personal input: more articles with I would like to see more articles on re- depth and scholarship. While American GWYN ROBERTS Recorder and traverso. “Aworld-class corder playing in a church setting and Recorder is not a scholarly journal, the fact virtuoso.”—American Record Guide more sources listed for good arrangements is that many members are accomplished “Compulsive listening - ✰✰✰✰✰.”— of music suitable for prelude or offertory. I professionals in other fields and enjoy this BBC Music Magazine did enjoy last month’s article on the sub- kind of material. 215-755-2848 ject (“The Worshipful Recorder,” Septem- Negative: I think the magazine deserves 215-755-8776 (fax) ber AR, page18). I also would like to see better front cover. The style/type so-to- groberts@ sas.upenn.edu www.sas.upenn. information on music notation programs speak-art used for quite a few years is, in edu/~groberts/ — the pros and cons. Thanks for continu- my opinion, unattractive, dull, and does ing to work hard at making a good maga- not suggest the artistic endeavor of early zine. music. PETE ROSE “Remarkable control of the tricky Roger Weaver Marilyn Carlson recorder, with a winning vocabulary Elkhart, Indiana Columbus, Ohio of sounds, attacks, and effects.” —The New York Times 13 Rutgers St., What remains to be investigated is why the Maplewood, NJ 07040; recorder is not considered a serious instrument. 973-762-0431; peteroserecorder Many writers have advanced the opinion that part @hotmail.com of the problem comes from the fact that children

The ARS makes this listing available to member are obliged to play recorder at school, even against recorder professionals without endorsing any individual player. Please their desire. In South America, this also happens contact these artists directly regarding their availablity. with the guitar and the mandolin; these instruments, however, are still considered to be “serious.”

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ED. NOTE: Members of ARS who have a fast Internet connection (preferably cable, DSL, or T1) can indeed now enjoy reading the mag- ARS Membership Enrollment and Renewal azine on the Web. All members who keep their Please enroll/renew me as a member of the Society. I’m looking forward to: e-mail address on file at ARS headquarters re- ✰ American Recorder, ARS Newsletter, and the Members’ Directory ceive an updated password for each issue that ✰ Members’ Library musical editions allows them to log on to American Recorder ✰ Eligibility for the ARS Education Program examinations On-line, a PDF version of the magazine in ✰ Discounts to some recorder workshops and on ARS publications which many ads link directly to the compa- ✰ Mailings from suppliers of materials, music, instruments. (ARS list is made nies’ web pages and in which musical exam- available only to purveyors of goods and services for recorder players.) ✰ Information on all aspects of playing the recorder ples can be played back (try the examples in “Putting Recorders and Their Players to the U.S./Canadian membership: ❏ one year $40, ❏ two years $75 Test,” page 9, and also the corrected and re- Foreign membership: ❏ one year $50, ❏ two years $95 vised version of Peter Ramsey’s Triptych, a U.S./Canadian Student* membership: ❏ one year $20 ❏ two years $40 Members’ Library Edition). ❏ ❏ In accordance with Ms. Carlson’s plea for Foreign Student* membership: one year $25 two years $50 more scholarly articles on the subject of early Workshop membership: ❏ one year $60 Business membership: ❏ one year $120 music, we can promise in the January issue ❏ Address and/or phone information has changed in past year. Patricia M. Ranum’s study of French wind ❏ Do not list my name in Directory. articulation inspired by a 1998 Les Arts *Enclose proof of full-time enrollment. Florissants performance of Lully’s Thésée (also the featured opera at this year’s Boston All dues paid in U.S. funds by check on U.S. bank, or by international money order. Early Music Festival). Family members residing at the same address may share a membership. However, the On the other hand, ARS feels strongly that student rate is not applicable to a shared family membership. For an additional listing in the organization and its publications serve the the ARS Directory under different surnames at the same address, add $5. entire world of recorder playing, including Please check to be included on the ARS list of ❏ ❏ modern composition, folk and popular id- Recorder teachers and/or Professional performers. (Since your recorder activities may change, you must indicate on each renewal if you want to continue to be listed.) ioms, childhood and adult education, and amateur and professional performance—not ❏ I wish to contribute $______to help sustain the work of the Society. just early music. AR articles and its covers by Please charge to my VISA/MASTERCARD: outstanding American graphic artists neces- #______Exp. Date: ______sarily reflect this broad and inclusive ap- Cardholder’s signature______proach (see below). NAME______PHONE (______) ______ADDRESS ______E-MAIL ______I do enjoy American Recorder. I have for CITY______STATE ____ ZIP ______many years, but it seems to me that you’ve refreshed it greatly. There are always sever- CHAPTER/CONSORT AFFILIATION, IF ANY: ______al things I want to read, and I enjoy having OPTIONAL INFORMATION: done so when I’m through. Certainly, the Chapter officer or committee member? ❏ Yes (officer/committee: ______) very attractive cover art creates a positive ❏ No ❏ Have served chapter in the past aura for every issue. Age: _____ For how many years have you played the recorder? _____ John Van Pelt ❏ ❏ ❏ Chicago, Illinois Level of recorder playing: Amateur Semi-professional Professional Annual income: ❏ Under $10,000 ❏ $10,000-30,000 ❏ $30,000-50,000 ❏ ❏ ❏ I am a member and I love your maga- $50,000-75,000 $75,000-100,000 Over $100,000 zine. It’s full of interesting articles and con- Portion of your income derived from music: ❏ All ❏ Some ❏ None cert dates. I found out about a Michala Portion of music income derived from the recorder? ❏ All ❏ Some ❏ None Petri concert from you. I’m probably your youngest member. I go to the Creative and If all or some, what kind of recorder activities are involved? (Check all that apply.) Performing Arts High School in Philadel- ❏ Teach privately ❏ Teach/lead workshops ❏ Teach elementary school music ❏ ❏ ❏ phia and am the only recorderist there. Performance Recorder maker Musical director/coach ❏ Other ______Keep up the good work. A student What type of recorder music do you play? (Check all that apply.) ❏ Medieval/Renaissance ❏ Baroque ❏ Modern/pop ❏ Folk ❏ Solo ❏ Recorder Orchestra ❏ Chamber music with other instruments (such as Serious concern trio sonatas) ❏ Broken consort with other instruments (such as a collegium) From the very moment I received my ❏ Consort involving three or more recorders playing one-on-a-part ❏ Grand consort first issue of American Recorder, I have been (format used in many chapter meetings, with several recorders playing on each part) shocked to see in almost every issue a ref- erence to the fact that most concertgoers AMERICAN RECORDER SOCIETY don’t consider the recorder to be a serious P. O. Box 631, Littleton, CO 80160-0631, U.S.A. instrument. Why this is so, what “serious” Fax (with handset down) or call in credit card renewals to 303-347-1181 means, and what we can do to correct this

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ARS PUBLICATIONS RESPONSE (cont.)

Erich Katz Contemporary Music Series Members Non-Members Suzanne M. Angevine, A Short Tale for two basses (Level II) (2 scores) $ 5 $ 8 have been questions I have struggled to 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 answer. Cecil Effinger, Dialogue and Dance (SATB) (Level II-III) (score & parts) $10 $18 When a musical instrument has a tradi- Lee Gannon, Sonatine for three altos (Level III) (score & parts) $14 $26 (score, parts & demo cassette) $23 $43 tion, a developed technique, an estab- Erich Katz, Suite of Jewish Folk Tunes (S S/A8 A/T) (Level II) (three scores) $10 $18 lished pedagogy, a musical literature for so- Vaclav Nelhybel, Six Short Pieces for Three Recorders, (AA/TT) (Level II) los, chamber music, and orchestra, it is edited by Alan Drake (3 scores) $8 $14 Stanley W. Osborn, Kyrie and Vocalise for soprano voice and recorders reasonable to say that it is a serious instru- (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14 ment, no matter how strictly we use the Frederic Palmer, Entrevista (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14 word “serious.” And this is certainly the Sally Price, Dorian Mood (SATB) (Level II) (score & parts) $10 $18 Jeffrey Quick, Picnic Music (SATB) (Level II) (score & parts) $ 5 $ 8 case with the recorder. Musical Editions from the Members’ Library: What remains to be investigated is why ARS members: 1 copy, $3 2 copies, $4.50 3, $6 4, $7.50 5, $10 6, $11.50 the recorder is still not considered a seri- Non-members (editions over 2 years old): 1 copy, $5 2 copies, $8.50, 3,$12 4,$15 5, $19.50 6, $23 ous instrument. In AR, many writers have The ARS is happy to provide photocopied enlargements of any Members’ Library edition at the same prices. Please specify “Members’ Library Enlargement.” * = Editions not yet available to non-members. advanced the opinion that part of the prob- Bruckner’s Ave Maria (arr. Jennifer W. Lehmann) Dancers (Richard Eastman) lem comes from the fact that children are Different Quips (Stephan Chandler) *Elegy for Recorder Quartet (Carolyn Peskin) obliged to play recorder at school, even Elizabethan Delights Los Pastores (arr. Virginia N. Ebinger) New Rounds on Old Rhymes (Erich Katz) Other Quips (Stephan Chandler) against their desire. In South America, this Poinciana Rag (Laurie G. Alberts) *Santa Barbara Suite (Erich Katz) also happens with the guitar and the man- Sentimental Songs (arr. David Goldstein) *Serie for Two Alto Recorders (Frederic Palmer) dolin; these instruments, however, are still Slow Dance with Doubles (Colin Sterne) Three Bantam Ballads (Ann McKinley) Three Cleveland Scenes (Carolyn Peskin) Tracings in the Snow considered to be “serious.” In fact, the Trios for Recorders (George T. Bachmann) in Central Park (Robert W. Butts) study of these instruments helped to build *Triptych (Peter A. Ramsey) Two Bach Trios (arr. William Long) a larger attendance at concerts. Further- Two Brahms Lieder (arr. Thomas E. Van Dahm) Vintage Burgundy more, because the volume of these instru- Other Materials from ARS ments, as with the harpsichord, cannot be ARS Information Booklets: compared to more modern instruments, it ARS members: 1 booklet, $13 2 booklets, $23 3, $28 4, $35 5, $41 6, $47 7, $52 must not be the limited volume of the re- Non-members: 1 booklet, $18 2 booklets, $33 3, $44 $4, 55 5, $66 6, $76 7, $86 corder that works against its being regard- Adding Percussion to Medieval and Renaissance Music (Peggy Monroe) ed as serious. American Recorder Music (Constance Primus) The Burgundian Court and Its Music (Judith Whaley, coord.) As a former guitar player, I know how Improve Your Consort Skills (Susan Carduelis) this situation was corrected in the case of Music for Mixed Ensembles (Jennifer W. Lehmann) the guitar. When Andres Segovia revived Playing Music for the Dance (Louise Austin) Recorder Care (Scott Paterson) the guitar, there was hardly a living tradi- Education Publications tion for technique and very few tutors. For centuries, almost no music had been writ- The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). First copy free to ARS members, replacement copies for members or non-members, $3. ten for this instrument. The fact that the Guidebook to the ARS Personal Study Program (1996). Material formerly published in the Study guitar was considered just good enough for Guide and Study Guide Handbook, plus additional resources. Members, $11; non-members, $20. accompanying songs at parties, for lovers’ ARS Music Lists (1996). Graded list of solos, ensembles, and method books. Members $8; non-members, $14. serenades, or for the Spanish “gitano” did Package deal available only to ARS members: Guidebook and Music Lists ordered together, $15. not stop him from creating a new school, Junior Recorder Society Leader’s Resource Notebook. ARS members, $20; non-members, $40 (updates at reduced rates after initial purchase). Special rate for previous purchasers of JRS Class teaching new players, who in turn contin- Program, $15. Dues for each JRS student member sponsored by an ARS member, $5 ($4 each for ued the teaching. Now, nobody ever asks groups of 10 of more). JRS student members receive activities plus “Merlin” badges and stickers. whether this instrument is or is not serious Other Publications (nor did Segovia ever raise the question). Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering forming In addition, the people who play guitar for an ARS chapter. ARS members, $10; non-members, $20 (updates free after initial purchase). pleasure are the very same who fill the con- One free copy sent to each ARS chapter with 10 members or more. Discography of the Recorder, Vol. I (1989). Compiled by Scott Paterson and David Lasocki. cert halls . Discography of the Recorder, Vol. II (1990-1994). Compiled by Scott Paterson. In many ways, there is historically a Either single volume: ARS members $23; non-members, $28. great similarity between the guitar and the Both Discography volumes together: ARS members only, $40. American Recorder: Cumulative Index for Vols. I-XXXX. ARS members, $20; non-members, $32. recorder, though the recorder is in a better Index Supplement, Vol. XXXIV-XXXX. ARS members, $8; non-members, $14. position than the guitar, since more music, All prices are in U.S. dollars and include U.S. postage and handling. For Canadian or foreign surface postage, technique, tradition, and tutors exist. please add an additional $1 per item; for Canadian or foreign air mail, please add an additional However, especially in the States, the re- $3 per item. When ordering five or more items to be shipped anywhere at the same time, ARS Members may deduct an extra $2 on top of the discounted members' price. Please make checks payable to the ARS. corder has developed more as an ensemble VISA/MasterCard also accepted. instrument with other recorders, while the American Recorder Society guitar, in classical music at least, has usu- P.O. Box 631, Littleton, CO 80160-0631, U.S.A. ally been featured as a solo instrument. 303-347-1120 What can we do to remedy the situation? In the first place, I would suggest that

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we eliminate the word serious when refer- ring to the recorder. If those who play and love the recorder speculate, even slightly, about the seriousness of this instrument, those who are not recorder connoisseurs will reasonably suppose that doubt exists. In the second place, though it is beautiful to see so many people enjoying ensemble music, it is time to honor the recorder as a solo and chamber music instrument. It is necessary, therefore, to have special workshops for solo players and more com- petitions and other types of promotional events where soloists can be heard and can improve their playing. Concerts must be designed to support this performance. In fact, in any and all activities from tennis to music, it is important to build two things: the soloist and the public. The public is usually drawn from among the amateurs who perform this activity for pleasure. If there are no “stars” to follow, and if new “stars” are not constantly being discovered, the public gets discouraged and has the feeling this is not a serious musical activity. This is exactly what happens with all other instruments; why should it not work for the recorder? Lots of players, lots of concerts, are needed to raise the audience awareness of this instrument, and this is what we all want. In the last but not least place, it is necessary that this attitude be assumed by ARS, since it is the greatest homogeneous recorder association in the world. Doris Grall Caracas, Venezuela

ED. NOTE: Since the beginning of the ARS (witness the memories of Bernard Krainis beginning on page 14), the ARS has been ac- tively involved in finding more and better ways for professional recorder players and amateurs to support each other in a healthy symbiosis. Especially in the last decade, with the advent of the bi-coastal Great Recorder Relays, the special recording grants, and the concert promotion of recorder soloists (see the ad on page 36 which runs in the Musical America International Directory of the Per- forming Arts), this has been the case. The A.R.S. Nova 2000 Long-Range Plan calls for more in this direction, including increased promotion of the recorder as a professional solo instrument.

Responses from our readers are welcome and may be sent to American Recorder, 472 Point Road, Marion, MA 02738, or e-mailed to [email protected]. Letters may be edited for length and consistency.

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ARS LOGO MUGS! CLASSIFIED CONSIDER ADVERTISING IN ______16 oz. foam-insulated mug ______fits most drink holders ______Ambidextrous drinking through The Closer (TM) Where the haves Full page ...... $500 100% spill-proof lid. 2/3 page ...... $365 and have-nots 1/2 page ...... $300 Wine or dark of the recorder world 1/3 page ...... $240 green with white 1/4 page ...... $180 ARS logo can find each other 1/6 page ...... $140 1/8 page ...... $105 1/12 page ...... $ 75 Order yours FOR SALE: Alto Mollenhauer Denner, ebony, re- 1 column inch ...... $ 45 now for $9 corder model 5224. New condition. 10 months including Circulation: Includes the membership of the old. $450. Contact Allen Moffat, moffata@ra- American Recorder Society, libraries, and postage. jones.com; 859-781-7244. music organizations. FOR SALE: Moeck alto krummhorn. Excellent con- Published five times a year: January, March, May, ARS September, November. Box 631 dition, $500. Moeck soprano chalumeau, Littleton, CO 80160 $400. Thurston Davini, 507-280-6361, or TDavi- Reservation Deadlines: December 1, February 1, 303-347-1120 [email protected]. April 1, August 1, October 1. FOR SALE: Aura standard soprano and alto in hard Rates good through November 2001. Please inquire about discounts on multiple-issue contracts, double case. Used three months. Cost $310. Sell inserts, or other special requests. Extra charges for for $200. Free tuner and metronome. 513-321- STATEMENT OF OWNERSHIP, MANAGEMENT AND CIRCULA- typesetting, layout, halftones, and size alterations. TION (Required by 39 U.S.C. 3685) 1. Publication title: American Re- 6662. 133-line screen recommended. Advertising subject corder. 2. Publication No. 0003-0724. 3. Filing date: September 27, to acceptance by magazine. First-time advertisers 2000. 4. Issue frequency: Bi-monthly, except summer. 4. No. of issues FOR SALE: Moeck soprano. Olivewood and ivory, published annually: five. 6. Annual subscription price: $32. 7. Com- must include payment with order. plete mailing address of known office of publication: American Re- small repair. $100. 978-352-7712. corder Society, P.O. Box 631, 5554 S. Prince, Suite 128, Littleton, CO For more information, contact 80160-0631. 8. Complete mailing address of the headquarters of gen- RECORDERS AND SHEET MUSIC FOR SALE:. Benjamin S. Dunham, Editor eral business offices of the publisher: same. 9. Full names and com- 472 Point Road, Marion, MA 02738 plete mailing address of publisher, editor, and managing editor: Pub- We’d love to sell our collection. I’ve put the details lisher: American Recorder Society, P.O. Box 631, Littleton, CO 80160- 508-748-1750 (bus. hrs.); Fax: 508-748-1928 0631. Editor: Benjamin S. Dunham, 472 Point Road, Marion, MA on our website, which is . If E-mail: [email protected] 02738. Managing Editor: same. 10. Owner: American Recorder Soci- you have any questions, please contact me using ety, Inc., P.O. Box 631, Littleton, CO 80160-0631. 11. Known bond- holders, mortgagees. and other security holders owning or holding 1 e-mail. My address is [email protected]. percent or more of total amount of bonds, mortgages or other securi- Thank you. Albert Holt. ties: none. 12. For completion by non-profit or organizations autho- ADVERTISER INDEX rized to mail at special rates: The purpose, function, and nonprofit status of this organization and the exempt status for federal income tax AMERICAN RECORDER seeks articles on re- ARCADIAN PRESS ...... IBC purposes have not changed during preceding 12 months. 13. Publica- corder: history, performance practice, artists and tion Name: American Recorder. 14. Issue Date for Circulation Data Be- AMAZING MUSIC WORLD...... IFC low: September 2000. 15. Extent and nature of circulation. A. Total repertoire, education, instrument building, etc. Al- number of copies. Average number of copies each issue during pre- AMERICAN ORFF-SCHULWERK ASSOCIATION...... 39 ceding 12 months 3,960. Actual number of copies of single issue pub- so, photographs and reports of news events. Will lished nearest to filing date 3,800. B. Paid and/or requested circula- consider artwork, poetry, riddles, puzzles. Modest AMERICAN RECORDER SOCIETY . . . . . 3, 26, 36, 37, 38, 40 tion: 1. Paid or requested outside county mail subscriptions stated on form 3541. Average number of copies each issue during preceding 12 honoraria by arrangement with editor: Benjamin S. TURE BERGSTRØM RECORDERS ...... 21 months 3,396. Actual number of copies of single issue published Dunham, 472 Point Road, Marion, MA 02738. STEPHAN BLEZINGER...... 23 nearest to filing date 3,216. 2. Paid in-county subscriptions. Average number of copies each issue during preceding 12 months 0. Actual Phone: 508-748-1750 (bus. hrs.); fax: 508-748- JEAN-LUC BOUDREAU ...... 8, 30 number of copies of single issue published nearest to filing date 0. 3. Sales through dealers and carriers, street vendors and counter sales, 1928; e-mail: [email protected]. BOULDER EARLY MUSIC SHOP ...... 29 and other non-USPS paid distribution. Average number of copies each issue during preceding 12 months 0. Actual number of copies of sin- SCHOLARSHIPS for recorder players to attend COURTLY MUSIC UNLIMITED...... 32 gle issue published nearest to filing date 0. C. Total paid and/or requested circulation. Average number of copies each issue during pre- recorder/early music weekend workshops during EARLY MUSIC AMERICA ...... 29 ceding 12 months 3,396. Actual number of copies of single issue pub- the year. Apply two months before funding is HARPS & HISTORICAL INSTRUMENTS ...... 34 lished nearest to filing date 3,216. D. Free distribution by mail. 1. Outside county as state on Form 3541. Average number of copies each needed. Weekend workshop scholarships are HONEYSUCKLE MUSIC ...... 32 issue during preceding 12 months 0. Actual number of copies of sin- made possible by memorial funds set up to honor gle issue published nearest to filing date 0. 2. In-county as stated on KATastroPHE RECORDS...... 39 Form 3541. Average number of copies each issue during preceding 12 Jennifer Wedgwood Lehmann and Margaret De- months 0. Actual number of copies of single issue published nearest Marsh. Contact ARS, Box 631, Littleton CO KELISCHEK WORKSHOP ...... 34 to filing date 0. 3. Other classes mailed through the USPS. Average number of copies each issue during preceding 12 months 12. Actual 80160; 303-347-1120; [email protected]. KEITH E. LORAINE ...... 21 number of copies of single issue published nearest to filing date 15. E. MAGNAMUSIC DISTRIBUTORS ...... BC Free distribution outside the mail. Average number of copies each is- MUSIC REVIEWERS for AR needed. Reviews sue during preceding 12 months 10. Actual number of copies of single MOECK VERLAG ...... 18 issue published nearest to filing date 20. F. Total free distribution. Av- must be submitted by e-mail or on disk. Please erage number of copies each issue during preceding 12 months 22. Ac- MOLLENHAUER RECORDERS ...... 8 tual number of copies of single issue published nearest to filing date send a brief bio with a list of the types of music you 35. G. Total distribution. Average number of copies each issue during are interested in reviewing to Connie Primus, Box MUSICA ...... IBC preceding 12 months 3,418. Actual number of copies of single issue published nearest to filing date 3,351. H. Copies not distributed: Av- 608, Georgetown, CO 80444, or [email protected]. THE MUSIC STORE ...... 24 erage number of copies each issue during preceding 12 months 542. Actual number of copies of single issue published nearest to filing date HERBERT PAETZOLD SQUARE RECORDERS...... 30 549. I. Total. Average number of copies each issue during preceding 12 PRESCOTT WORKSHOP ...... 23 months 3,960. Actual number of copies of single issue published Classified rate for American Recorder: 60¢ nearest to filing date 3,800. Percent paid and/or requested circulation. per word, ten-word minimum. “FOR SALE” PROVINCETOWN BOOKSHOP ...... 39 Average percentage during preceding 12 months 99. Actual percent- and “WANTED” may be included in the age for single issue published nearest to filing date 99. 16. Publication THE RECORDER MAGAZINE ...... 32 of Statement of Ownership. Will be printed in the November issue of copy without counting. Zip code is one this publication. 17. Signature and Title of Editor, Publisher, Business word; phone, e-mail, or web page is two. RECORDER SHOP ...... 21 Manager, or Owner: Gail Nickless, Executive Director, September 27, 2000. I certify that all information furnished on this form is true and Payment must accompany copy. Dead- SWEETHEART FLUTE CO...... 32 complete. I understand that anyone who furnishes false or misleading lines are one month before issue date. VILLAGE & EARLY MUSIC SOCIETY ...... 34 information on this form or who omits material or information re- Send copy with payment to: ARS, Box quested on the form may be subject to criminal sanctions (including VON HUENE WORKSHOP, INC...... 31 fines and imprisonment) and/or civil sanctions (including multiple 631, Littleton, CO 80160. damages and civil penalties). DOMINIK ZUCHOWICZ...... 21

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