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M a R C H 2 0 1 2 V Ol

M a R C H 2 0 1 2 V Ol

m a r c h 2 0 1 2 V ol. LIII, No. 2 • www.americanrecorder.org Published by the American Recorder Society, Moeck-Anzeige-Natur.indd 1 07.07.2010 11:53:09 Uhr

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’ve been reading Beethoven in America Features by Thomas Broyles (not an easy read; Spring’s Sweet becomes Ihaving gotten past Transcen­dentalism Summer’s Symphony ...... 9 and Theosophy, I look forward to Peanuts The annual look at summer workshops, and Schroeder’s Beet­hoven penchant) . plus a few scheduled earlier and later To my surprise, appears in ARS 2012 Festival ...... 23 4 the book’s big picture of the 20th-century The Recorder: Past, Present & Future musical world, and specifically in regard to its influence in the 1980s on period instru­ The Recorder in English Newspapers, ment orchestras and fortepianists, who 1730-1800 ...... 29 sought a faithful Beethoven sound .To my By Lasocki chagrin, three pages on the “authenticity” movement feature a paraphrase from con- Departments troversial musicologist Richard Taruskin: “repertoire that was mostly unknown with Advertiser Index and Classified Rates ...... 48 23 a performance tradition that had not sur- Book Reviews ...... 38 vived,” a choice of quotes that makes us Gwyn Roberts reviews an e-book by David Lasocki appear rudderless . Broyles also recites the litany of the having “its Chapters & Consorts ...... 20 beginnings in turn-of-the-century [1900s] Christmascellany England”—for us, a simplified version of the Music Reviews ...... 39 recorder’s rebirth after being cast aside as Mozart and to modern musical styles changed in the mid-1700s . As a scholar examining our history On the Cutting Edge ...... 27 27 from the “inside,” David Lasocki observes Birthday wishes from Tim Broege to Gerhard Braun that there’s much more to our story . English newspapers show that people continued to President’s Message ...... 3 make, buy and play recorders (page 29) . ARS President Lisette Kielson reminds you to Return your music stand to its upright attend the ARS Festival! workshop and locked position: it’s time Tidings ...... 4 ARS Festival (page 9) and time (page 23) . Peter Seibert to receive ARS Presidential Special Gail Nickless Honor Award; Alfred Publishing turns 90; www.youtube.com/user/americanrecordermag recorders in the Metropolitan pit; 29 www.facebook.com/americanrecordermag Technique Tip from Mary Halverson Waldo: www.facebook.com/AmerRec “Developing a Better Self-Awareness of Sound”

Gail Nickless, Editor ON THE COVER: Contributing Editors Tom Bickley, Compact Disc Reviews • Frances Blaker, Beginners & Technique “The Recorder: Past, Present & Future,” Timothy Broege, 20th/21st-Century Performance • Carolyn Peskin, Q & A ARS 2012 Festival Sue Groskreutz, Book & Music Reviews • Mary Halverson Waldo, Education by Charles Mullen. Advisory Board ©2012 American Martha Bixler • Valerie Horst • David Lasocki • Bob Marvin Recorder Society Thomas Prescott • Catherine Turocy• Kenneth Wollitz www.AmericanRecorder.org Copyright©2012 American Recorder Society, Inc. Who is Richard Taruskin? “The Spin Doctors of Early Music” by “Taruskin Agonistes,” by James Thoughts on early music from David Richard Taruskin, New York Times, 1990 Richman, AR, September 1998 Lasocki, www.instantharmony.net ARS Chapters Alabama Idaho North Carolina Birmingham: Les Bois (Boise): Carolina Mountains: Janice Williams (205-870-7443) Kim Wardwell (360-202-3427) Ro Metcalf (828-685-7854) Arizona Illinois Greenville Recorder Society John Shaw (252-355-2737) Desert Pipes (Phoenix): Chicago: Dennis Sherman AMERICAN George Gunnels (480-706-6271) (773-764-1920) Triangle: Mary McKinney Arizona Central Highlands Chicago–West Suburban: (919-489-2292) RECORDER (Prescott): Georgeanne Hanna Judy Stephens (630-740-0880) Ohio (928-775-5856) Louisiana Greater Cleveland: Tucson: Scott Mason (520-721-0846) SOCIETY Baton Rouge: Edith Yerger (440-826-0716) inc. Arkansas Cody Sibley (225-505-0633) Toledo: Aeolus Konsort: New Orleans: Charles Terbille (419-536-3227) Honorary President Don Wold (501-666-2787) Victoria Blanchard (504-861-4289) Oregon Erich Katz (1900-1973) Bella Vista: Barbara McCoy Maryland (479-855-6477) Eugene: Lynne Coates Honorary Vice President Northern Maryland: California (541-345-5235) Winifred Jaeger Richard Spittel (410-242-3395) Oregon Coast: Corlu Collier Central Coast: Margery Seid Massachusetts (541-961-1228) (805-474-8538) Portland: Zoë Tokar (971-325-1060) Statement of Purpose East Bay: Susan Jaffe (510-482-4993) Boston: Betty Cohen (617-447-5412) The mission of the American Recorder Society Inland Riverside: Greg Taber Recorders/Early Music Pennsylvania (951-683-8744) Metro-West Boston: Sheila is to promote the recorder and its music by Beardslee (978-264-0584) Bloomsburg Early Music Ens :. Monterey Bay: Susan Renison Susan Brook (570-784-8363) developing resources and standards to help (831-335-5869) Worcester Hills: Doug Bittner (508-852-6877) Erie: Linda McWilliams people of all ages and ability levels to play and North Coast: Kathleen (814-868-3059) Kinkela-Love (707-822-8835) Michigan study the recorder, presenting the instrument Philadelphia: Orange County: Ann Arbor: Margaret Bond to new constituencies, encouraging increased Jo Redmon (714-527-5070) Sarah West (215-984-8923) (734-665-6597) Pittsburgh: Helen Thornton career opportunities for professional recorder Redding: Kay Hettich Kalamazoo: David W . Fischer (530-241-8107) (412-486-0482) performers and teachers, and enabling and (269-375-0457) Sacramento: Mark Schiffer Metropolitan Detroit: Claudia Rhode Island supporting recorder playing as a shared social (916-685-7684) Novitzsky (248-548-5668) Rhode Island: experience. Besides this journal, ARS publishes San Diego County: Northwinds Recorder Society: Vanessa Evans (619-297-2095) David Bojar (401-944-3395) a newsletter, a personal study program, a Janet Smith (231-347-1056) San Francisco: Greta Hryciw Western Michigan: Jocelyn Shaw Tennessee directory, and special musical editions. Society (415-377-4444) ( 231-744-8248) Greater Knoxville: Sonoma County: members gather and play together at chapter Minnesota Ann Stierli (828-877-5675) Dale Celidore (707-874-9524) meetings, weekend and summer workshops, South Bay: Twin Cities: Greater Nashville: Carol Vander Wal and many ARS-sponsored events throughout Liz Brownell (408-358-0878) Barbara Aslakson (952-545-3178) (615-226-2952) Southern Middle Tennessee the year. In 2009, the Society enters its Southern California: Missouri Sharon Holmes (310-379-2061) (Tullahoma): Vicki Collinsworth eighth decade of service to its constituents. Colorado St . Louis: (931-607-9072) William Long (636-447-6191) Texas Boulder: Mike Emptage Nevada Board of Directors (970-667-3929) Austin: Frank Shirley (512-832-5600) Lisette Kielson, President Denver: Dick Munz (303-286-7909) Sierra Early Music Society: Dallas: Kathy Bohrer (775-393-9002) Laura Sanborn–Kuhlman, Fort Collins: Alice Derbyshire (940-300-5345) Cindy Henk (970-988-0160) New Hampshire Rio Grande: Vice President; Fundraising Chair Early Music Society of Western CO: Monadnock: Sylvia Burke (575-522-1742) Susan Richter, Secretary Bev Jackson (970-257-1692) Kristine Schramel (413-648-9916) Utah Ann Stickney, Treasurer, Finance Chair, Connecticut & Lynn Herzog (802-254-1223) New Jersey Utah (Salt Lake): Mary Johnson Membership Co-Chair Connecticut: Elise Jaeger (801-272-9015) (203-792-5606) Matt Ross, Asst. Secretary; Governance Chair Bergen County: Vermont Eastern Connecticut: Mary Comins (201-489-5695) Bonnie Kelly, Asst. Treasurer; Joyce Goldberg (860-442-8490) & Reita Powell (201-944-2027) Monadnock: Membership Co-Chair District of Columbia Highland Park: Donna Messer Kristine Schramel (413-648-9916) Mark Davenport, Program Chair Washington: Art Jacobson (732-828-7421) & Lynn Herzog (802-254-1223) (301-983-1310) Montclair Early Music: Virginia Jeanne Lynch, Marketing/ Julianne Pape (845-943-0610) Public Relations Chair Delaware Navesink: Lori Goldschmidt Northern Virginia: Nancy Buss Mark Dawson Brandywine: Roger Matsumoto (732-922-2750) Edward Friedler (703-425-1324) Princeton: Orum Stringer Shenandoah (Charlottesville): Greg Higby Mary McCutcheon (302-731-1430) Florida (215-295-7149) Gary Porter (434-284-2995) New Mexico Tidewater (Williamsburg): Ft . Myers: Sue Groskreutz Vicki H . Hall (757-784-2698) Staff (239-267-1752) Albuquerque: Bryan Bingham Kathy Sherrick, Administrative Director Largo/St . Petersburg: (505-299-0052) Washington Elizabeth Snedeker (727-596-7813) Las Vegas (Flat & in Las Moss Bay: PO Box 220498 Vegas): Tom Curtis (505-454-4232) Miami: Ruth Trencher (305-665-3380) James Verschaeve (253-249-4272) Saint Louis MO 63122-0498 U.S. Rio Grande: Orlando Consort: Sheri Grayson Seattle: Tomo Morita (425-301-5767) 800-491-9588 toll free (407-299-3076) Sylvia Burke (575-522-1742) Santa Fe: Gus Winter (505-603-8034) Wisconsin 314-961-1866 phone Palm Beach: Gail Hershkowitz (561-732-5985) New York Milwaukee: Carole Goodfellow 866-773-1538 fax Sarasota: Buffalo: Mark Jay (716-649-1127) (262-763-8992) Nancy Paxcia-Bibbins (941-536-0621) [email protected] Hudson Mohawk: Southern Wisconsin: www.AmericanRecorder.org Georgia Lee Danielson (518-785-4065) Greg Higby (608-256-0065) Atlanta: Long Island: Canada Mickey Gillmor (404-872-0166) Barbara Zotz (631-421-0039) In accordance with the Internal Revenue Service Edmonton: Nils Hahn (780-443-3334) Taxpayer Bill of Rights 2, passed by the United States New York City: Gene Murrow (646-342-8145) Montréal: Congress in 1996, the American Recorder Society makes Hawaii: Irene Sakimoto (808-734-5909) Rochester: Liz Seely (585-473-1463) Mary McCutcheon (514-271-6650) freely available through its office financial and Big Island: Roger Baldwin Rockland: Jacqueline Mirando Toronto: Sharon Geens (416-699-0517) incorporation documents complying with that regulation. (808-935-2306) (845-624-2150) West Hawaii Recorders: Westchester: Please contact the ARS office Marilyn Bernhardt (808-882-7251) Erica Babad (914-769-5236) to update chapter listings. 6 March 2012 American Recorder President’s Message ______Greetings from Lisette Kielson, ARS President [email protected]

t’s March—it’s Play-the-Recorder The Festival promises You’ve been hearing about the Month (PtRM)! Celebrate the Festival and ads for it, and in the instrumentI we love by taking part to be as comprehensive January issue you received the brochure in the ARS PtRM activities . Play and registration form for it . In this Mark and David Fischer’s Reverie as its theme “The issue, we have a special Festival spread (see January issue) with your ensemble with even more information, details on Recorder Day!, throughout the Recorder: Past, Present provided by the Festival Committee month, and beyond . Embrace your (Jeanne Lynch, Chair), board mem- competitive side and enter the PtRM & Future” indicates. bers, and presenters .The brochure Contest . Recruit new members to the gives you a taste of what the Festival ARS: they’ll save money and love you Valerie Austin who we welcome offers—performers, presenters, and for it! Most of all—have fun this heartily to the Board . general session topics . Inside this issue month! With the spring issue of American you will find even more information . Early March will have brought Recorder comes the workshop listing, Read about: the spring board meeting (March 1-4 which prompts us to think about sum- • Peter Seibert, the Presidential in St . Louis, MO) . Agenda items will mer planning and more ways to cele- Special Honor Award recipient have included discussions on the brate the recorder .The 2012 ARS • Plans for Chapters and Consorts Budget, Fundraising, the Programs Festival is July 5-8 (Reed College, • Portland, OR, our festival city Committee’s vision and goals for Portland, OR), and I’d like to make a • Major areas of focus, including the future projects, and the Festival (see special plug for it .The Festival prom- Teacher Track Day, Recorder below) .This meeting was the last for ises to be as comprehensive as its , Ancient Greek Music, Susan Richter and Mark Davenport theme “The Recorder: Past, Present & and more! who served marvelously on the Board Future” indicates . Offering something It’s not too soon to plan for the for one and two terms, respectively . It for everyone, it will be an extravaganza summer . Register for the ARS Festival also was the first for new appointee of all that is RECORDER! by April 1 and receive the early regis- tration discount . Pay by credit card and take advantage of the payment plan . Make the ARS 2012 Festival your destination spot this July and experi- ence the extraordinary!

Recorder Lessons in your own home

www.PatrickRecorder.com

www.AmericanRecorder.org March 2012 7 Tidings ______Peter Seibert honored by ARS, ______Alfred Publishing turns 90, rules for flying with instruments Peter Seibert to receive ARS Presidential Special Honor Award Seattleites know Peter locally for By Lisette Kielson, ARS President his tenure with the Seattle Recorder Society (he has been its Director since On Saturday, July 7, at the ARS 2012 1970!), as Music Director of the Festival in Portland, OR, I will have Recorder Orchestra of Puget Sound, the honor of presenting Peter Seibert and as founder and former director of with the ARS Presidential Special the Port Townsend Early Music Honor Award (PSHA) . Workshop (now held in Tacoma, WA) . The PSHA honors a person or A dedicated educator, he has taught group that has made significant contri- recorder to students of varying ages— butions to their community which have at The Lakeside School in Seattle, Regionally, he is highly respected had a ripple effect throughout the as well as in higher education at the and sought after for his leadership . larger recorder world . Peter epitomizes, University of Washington School of He has been invited to conduct chap- and far surpasses, this criterion! Music . ter meetings, workshops, and recorder ARS Distinguished Achievement Award Recipients orchestras up and down the West Coast, from California to British The ARS Distinguished Achievement Award was set up by the Board in Columbia . 1986 to recog­nize and honor individuals who have made extraordi­nary His reputation doesn’t stop there: contributions to the develop­ment of the recorder move­ment in North Peter has reached and greatly influ- America . enced and international Friedrich von Huene 1987 Marion Verbruggen 2006 recorder community on many different Bernard Krainis 1989 Anthony Rowland–Jones 2007 levels . He has led workshops through- Shelley Gruskin 1991 Ken Wollitz 2009 out the U S. ,. in Canada, and in Great Nobuo Toyama 1994 David Lasocki 2011 Britain . His strong commitment to LaNoue Davenport 1995 recorder education has included serving Martha Bixler 1996 Members are invited to send a as adjudicator in Calgary for recorder Edgar Hunt 1997 Distin­guished Achievement Award level exams and writing articles for AR. Eugene Reichenthal 1999 nomination, along with the reasons for He served as a Director on the Valerie Horst 2002 nomina­ting that individual, at any ARS Board from 1977-1984 . During Pete Rose 2005 time for consideration by the Board. his two terms on the Board, he worked passionately on the Education Com­ ARS Presidential Special Honor Award Recipients mittee developing ARS standards for Established in 2003, this award—given at the ARS President's discretion, and approved and voted on by the ARS Board—honors a person or group recorder level exams and teacher quali- that has made significant contributions to their own community that have fications .The current ARS Personal had a ripple effect throughout the larger recorder world. Study Program stems in large part from Peter’s innovative work 35 years ago! David Goldstein 2003 Shirley Robbins 2007 Many of us know Peter as com- Carolyn Peskin 2005 Corlu Collier & Oregon Coast poser and arranger . His works have Marie–Louise Smith 2005 Recorder Society 2009 been performed on four continents and Connie Primus 2006 Louise Austin 2011 are published by PRB Productions, Joel Newman 2007 Peter Seibert 2012 Polyphonic Publications and Hargail 8 March 2012 American Recorder Music . His breadth as a is comprehensive . He has written for professional and amateur recorder play- ers, as well as for orchestra, chorus and ensemble . A particular passion includes writing for recorder orchestra, and I am thrilled to announce that Peter will conduct the ARS 2012 Festival Recorder Orchestra in a new work, Festival Music for Recorders, that he composed specifically for the occasion . Don’t miss being a part of this premiere on July 7! Please join me in recognizing educator, composer and arranger, music director and conductor—leader Peter Seibert—at the ARS 2012 Festival PSHA Ceremony and Reception this summer . Bits & Pieces

Congratulations to . . • Alfred Music Publishing, world leader in educational print music publishing since 1922 and pub- lisher of the Suzuki Recorder School . Its year-long 90th anniversary celebration started during the National Association of Music Merchants (NAMM) Show, January 19-22, in Ana­heim, CA . Alfred grew from a modest Tin Pan Alley pop song catalog to a library of over 90,000 educational, reference, pop and performance titles, under the leadership of three generations of the Manus family . • The 2012 NAMM Show, which broke attendance records of the 110- year-old event, the largest and longest-running music indus- try show in the U S. . NAMM uni- fies a $17 billion global musical products industry, and promotes music-making to people of all ages . Besides “Wanna Play?” Super Bowl PSAs, NAMM www.AmericanRecorder.org March 2012 9 American Recorder Society Publications showed 50 million television view- ers the magic of playing musical Musical Editions from the Members’ Library: instruments with a Sesame Work­ ARS members: 1 copy-$3, 2 copies-$4.50, 3-$6, 4-$7.50, 5-$10, 6-$11.50 Non-members (editions over 2 years old): 1 copy-$5, 2 copies-$8.50, 3-$12, 4-$15, 5-$19.50, 6-$23 shop float in Macy’s Thanks­giving Arioso and Jazzy Rondo (AB) Carolyn Peskin LeClercq’s Air (SATB) Richard E. Wood Parade .Visit www.namm.org . Belmont Street Bergamasca (ATB) Sean Nolan Little Girl Skipping and Alouette et al Berceuse–Fantaisie (SATB) Jean Boivert (SATBcB) Timothy R. Walsh Former ARS Board member Bruckner’s Ave Maria (SSATTBB) Los Pastores (S/AAA/T + perc) Amanda Pond Jennifer W. Lehmann, arr. Virginia N. Ebinger, arr. has recorded a pod- Canon for 4 Basses (BBBB) David P. Ruhl New Rounds on Old Rhymes (4 var.) cast interviewing guitarist/conductor Dancers (AT) Richard Eastman Erich Katz Richard Savino El Mundo Danse de Village (SAB) Kevin Holland Other Quips (ATBB) Stephan Chandler , whose Different Quips (AATB) Stephan Chandler Poinciana Rag (SATB) Laurie G. Alberts for Recorder Quartet (SATB) Santa Barbara Suite (SS/AA/T) Erich Katz group was nominated for a Grammy Carolyn Peskin Sentimental Songs (SATB) David Goldstein, arr. award .The podcast is available through Elizabethan Delights (SAA/TB) Serie for Two Alto Recorders (AA) Jennifer W. Lehmann, arr. Frederic Palmer the syndicated radio program, “Sunday Fallen Leaves Fugal Fantasy (SATB) Slow Dance with Doubles (2 x SATB) www.sundaybaroque.org/ Dominic Bohbot Colin Sterne Baroque,” Four Airs from “The Beggar’s Opera” (SATB) Sonata da Chiesa (SATB) Ann McKinley interviews/interviews.html (click on Kearney Smith, arr. S-O-S (SATB) Anthony St. Pierre Gloria in Excelsis (TTTB) Robert Cowper Three Bantam Ballads (TB) Ann McKinley “Listen to the interview” in the top He Talks, She Talks (AT) Bruce Perkins Three Cleveland Scenes (SAT) Carolyn Peskin Havana Rhubarb Rhumba (SATB up to Three in Five (AAB) Karl A. Stetson paragraph, under Savino’s name) . 7 players) Keith Terrett Tracings in the Snow in Central Park (SAT) Live recorder music and gentle Idyll (ATB) Stan McDaniel Robert W. Butts Imitations (AA) Laurie G. Alberts Trios for Recorders (var.) yoga are found to be a healing combi- In Memory of Andrew (ATB) David Goldstein George T. Bachmann In Memory of David Goldstein (SATB) Triptych (AAT/B) Peter A. Ramsey nation for soldiers returning from Will Ayton Two Bach Trios (SAB) William Long, arr. deployment . Mary Halverson Waldo, Lay Your Shadow on the Sundials (TBgB) Two Brahms Lieder (SATB) Jemme Terry Winter Owens Thomas E. Van Dahm, arr. recorders, and yoga instructor Leaves in the River (Autumn) (SATB) Variations on “Drmeš” (SATB) Martha Bishop Stewart Erik Pearson Vintage Burgundy (S/AS/ATT) have been sharing time and Jennifer W. Lehmann, arr. talent during the past year with military ARS Information Booklets: folks in the “Warriors in Transition” ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 programs at Gravatt Camp and Non-members: 1 booklet-$18, 2 booklets-$33, 3-$44, 4,$55, 5-$66, 6-$76, 7-$86 *Free online to ARS members Conference Center, Aiken, SC . Adding Percussion to Medieval and Improve Your Consort Skills Susan Carduelis After a decade of lobbying, the Music Peggy Monroe Music for Mixed Ensembles American Federation of Musicians *American Recorder Music Constance Primus Jennifer W. Lehmann Burgundian Court & Its Music *Playing Music for the Dance Louise Austin Whaley, coord. *Recorder Care Scott Paterson applauds the passage of a Federal Avi­ ation Administration (FAA) bill that sets a consistent national policy allow- Education Publications Available Online and Free to Members The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). ing musical instruments on airplanes . Guidebook to the ARS Personal Study Program (1996). ARS Music Lists. Graded list of solos, ensembles, and method books. After five years and 23 extensions, Congress has passed a bill reauthoriz- Videos Available Online to All ing the FAA, and also containing pro- Recorder Power! Educational video from the ARS and recorder virtuoso John Tyson. An exciting musical instruments resource about teaching recorder to young students. visions for . Pete Rose Video. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recital. The video features Rose performing a variety of music and in an interview with ARS Any instrument that can be safely member professional John Tyson. stored in the overhead compartment or underneath the seat may be brought on Other Publications Chapter Handbook. A resource on chapter operations for current chapter leaders or those board as carry-on luggage .The bill also considering forming an ARS chapter. ARS members, $10; non-members, $20. sets standard weight and size require- One free copy sent to each ARS chapter with 10 members or more. Consort Handbook. Available Online and Free to Members. ments for checked instruments, and Resource on consort topics such as group interaction, rehearsing, repertoire, performing. permits musicians to purchase a seat for Shipping & Handling Fees: Under $10 - add $3; $10-19.99 - add $4; $20-29.99 - add $5; $30-39.99 - oversized instruments, such as ’, add $6; $40-49.99 - add $7. All prices are in U.S. dollars. For Canadian or foreign postage, pay by credit card and actual postage is charged. Please make checks payable to ARS. VISA/MC/AMEX/Disc also accepted. that are too delicate to be checked . Existing law allowed each airline See www.AmericanRecorder.org for complete publication offerings, for sale and free to members. to set policy regarding musical instru- ments, which varied widely for both ARS, PO Box 220498, Saint Louis MO 63122 U.S. 866-773-1538 toll-free fax carry-on and checked baggage .To [email protected] read more, see http://afm.org/news/the- afm-applauds-passage-of-faa-bill.

10 March 2012 American Recorder Recorders in New York City performance), and The Enchanted Island, a pastiche with music mostly By Anita Randolfi, New York City, NY by Handel and Vivaldi, with addi- tional by Rameau, Campra, Brooklyn Baroque played their Leclair, Purcell, and Ferrandini . annual “Holiday Concert” Decem- In Rodelinda (1725), Handel ber 10 at the Morris-Jumel Mansion . scored two alto recorders in many of The members of the ensemble are the arias that reflect on the sorrows of Andrew Bolotowsky, Baroque , the separated lovers—for example, in David Baramjian, Baroque , and Rodelinda’s “Se’l mio duol non è si Rebecca Pachefsky, ; forte”—and arias that meditate on Gregory Bynum, recorder, and the healing power of nature, as in Jonathan Woody, bass-baritone, “Un Zeffiro spirò ”. were guest performers . The Enchanted Island is a As usual with this group, they “Baroque Fantasy . . devised and offered an attractive program mix of written by Jeremy Sams” that uses well-known and lesser-known pieces . Shakespeare’s The Tempest and A Bynum’s sweet-toned Midsummer Night’s Dream as literary playing enhanced two staples of the sources of inspiration for the English Baroque repertory: Loeillet, Sonata language libretto . It is an ear- and eye- in F for recorder, flute and continuo, dazzling piece of music theater . (The of Plácido Domingo as the and the Telemann Trio No. 8 in Bb for recorder, harpsichord and continuo god Neptune alone is worth the price from Essercizii Musici . Bynum also of admission ). provided sensitive to bass I heard the January 4 perfor- arias in Telemann’s less familiar can- mance . Since there is no available tata “Wenn Israel am Nilus­strande” score, it was hard to keep track of the from Harmonischer Gottes-Dienst . arias that included recorders, but they The House were prominently employed in the is not the first place that comes to storm scenes . mind for recorder playing, but the For both , Ben Harms and Met’s 2011-12 season includes two Stephan Hammer were the hard- operas that employ recorder players in working recorder players .They more the pit band .The operas are Rodelinda than held their own in a pit full of by Handel (I heard the November 23 “modern” instruments . Early Music America News performers of voice and/or period EMA will reprise two recent successful instruments) in the performance of events at the Berkeley (CA) Festi­val: repertoire of the Baroque period, • EMA Young Performers Festival, c 1600-1750. A D. .The winning June 6-8: six one-hour daytime ensemble receives a $3,000 cash prize concerts by university and conser- and the opportunity to present concerts vatory early music ensembles . on the 2013-14 or 2014-15 series of • Berkeley Festival Exhibition & four major presenters of early music . Music Marketplace, June 7-9, Selected finalists will be invited free and open to the public . to perform in New York City, NY, on Visit www.earlymusic.org . 10, when a winner will be EMA has also announced a new selected by a panel of five judges . Baroque Performance Competition Applications are due May 1 at in 2012 to encourage the development www.artsapp.com/earlymusicamerica, of emerging ensembles (minimum two with finalists selected by June 1 . www.AmericanRecorder.org March 2012 11 Technique Tip Developing a Better Self-Awareness of Sound Every “note” (tone, pitch) has three parts: a beginning, a middle, and an end .The beginning of a tone is the so-called attack, which on the recorder is initiated by the player’s tongue articulation .The middle or body of the tone is brought about by one’s air or breath .The air flow and speed introduces the tongued articulation into the recorder windway, but then goes on to shape and color the basic sound as it resonates through the entire length of the instrument; and sometimes even inside the performer’s head! The end of the tone is effected by the release, or letting go of the breath- produced sound . Overall tone quality in recorder performance is also influenced by posture/ position/alignment, , intonation and the action of the fingers . A helpful image of this important concept of beginning, middle and end is to picture each note as a beautiful fish— with a precisely shaped mouth (as in a precise articulation), a curved body with colorful scales (as in the shape and color brought about with a well-supported and flexible breath), and a flowing tail (like the graceful ending of a sound released into the air, or with a subtle and springy tongue action) . But what do you do when your sound fails to capture the perfect proportions and color of a beautiful fish? What if you’re not sure whether you’re even aware of imperfections in your sound? Putting understanding into action: As you warm up by playing long tones, short notes, scale patterns or your favorite elegant melody, close your eyes and notice if you hear a note that sounds distorted in some way . Identify whether the distortion happened in the beginning, middle, or end of that tone . Stop playing and make this identification when- ever you hear any distortion . In his book, Teaching With An Open Heart, music educator Edward Kreitman states, “The most intriguing aspect of this [type of] exercise is this: I do not give students any instruction on how to create the ‘perfect note ’. I simply ask them to rely on their own intuitive abilities and to engage their ears, and the sound improves by about 80% . Here we see the listening loop in action,” [referring to students having a solid idea in their minds of what good tone quality sounds like, and being able to use their skills to make that happen ]. “The single most significant aspect of this exercise has more to do with awareness than with technique . Asking students to really listen to their sound is the most important step .The necessary physical adjustments flow intuitively as the connection between aural and tactile awareness is developed ”. Building your own skill and awareness in developing excellent tone production is possible by consulting teachers and recorder technique methods that feature more in-depth instruction on the physical and musical aspects of this study . For more ideas, see writings by authors Frances Blaker, Walther van Hauwe, Aldo Abreu, Gudrun Heyens, Hugh Orr and others listed on the ARS web site and reviewed in AR magazine . Mary Halverson Waldo is a free-lance performer on recorders and the traverso. She is an official Recorder Teacher Trainer for the Suzuki Association of the Americas, and is a regular faculty member at institutes and festivals throughout North and South America. Provincetown Bookshop Editions The Recorder Magazine “GO FOR NEO-BAROQUE!” we invite you to visit the site Andrew Charlton: Partita Piccola. For 4 Recorders (SATB) www.recordermail.demon.co.uk [Prelude; Allemande; ; Musette— a neo-baroque epitome!] (Score & Parts, PBE-25) . . . $7.95 Andrew Charlton: Suite Moderne. For 3 Recorders (ATB) Please support our [Baroque shapes but Hindemithian harmony] (3 Playing-Scores, PBE-44) ...... $9.95 loyal advertisers! Southwest of Baroque. David Goldstein’s “baroque Suite” on Cowboy Songs. For 2 Recorders (SA) (PBE-2) . . $3.50

A good source for Recorder & Music of all publishers. The Provincetown Bookshop, Inc. 246 Commercial Street, Provincetown, MA 02657 Tel. (508)487-0964

12 March 2012 American Recorder Spring’s Sweet Cantata

Winds and Wavesbecomes MarinSummer’s Headlands Symphony Recorder Workshop Recorder Workshop Sitka Center, Otis, OR Point Bonita YMCA, April 28-30 near San Francisco, CA Come work on a wide variety of recorder May 18-20 music from past and present under the With each day our Marin Headlands guidance of an internationally renowned Recorder workshop gets nearer . Recorder faculty—Frances Blaker, Letitia Berlin, players will make music at the edge of the Cléa Galhano and Judith Linsenberg . ocean, surrounded by the open space of Founded by the Oregon Coast Recorder the Golden Gate National Recreation Society, Winds and Waves offers graded Area (www.nps.gov/goga/marin-head- technique and repertoire classes, plus lands.htm) . Intermediate and advanced general “grand consort” sessions . players are invited to join members of the Winds and Waves faculty perform, sponsoring East Bay ARS Chapter for record, teach and conduct workshops this annual event . Participants who have throughout the U S. . and abroad . Blaker percussion instruments are invited to and Berlin are based in the San Fran- bring them in addition to recorders . cisco Bay area and form the duo Tibia . This year’s faculty includes familiar Originally from , Galhano lives and new faces: David Barnett, Frances and teaches in St . Paul, MN, and is on Feldon, Greg Ingles, Shira Kammen, the faculty of Macalester College and Peter Maund and Fred Palmer . Music other Twin Cities institutions . Artistic offerings will range from easily playable director of Musica Pacifica, Linsen­berg to challenging . is the 2012 Recorder Artist-in-Residence The workshop will be held at the Point at the Sitka Center for Art and Ecology . Bonita YMCA on the Marin County Tuition of $250 includes a faculty concert coast, a place of stunning natural beauty on April 27 . Age 15 and older . (www.ymcasf.org/ptbonita/) . Set in a Contact: 541-994-5485; meadow with short walks to Pacific [email protected], sitkacenter.org Ocean vistas, the historic Point Bonita Lighthouse, and remnants of WWII Indiana Double Reed fortifications, it is a place to get away, Workshop relax, enjoy the fellowship of longtime Waycross Retreat Center, friends and make new ones . Bloomington, IN Accommodations include dormitory- May 2-7 style rooms, a large dining area, and play- Early Music in Motion presents a work- ing spaces all on one level . Rooms are shop for intermediate to professional also available for impromptu playing . and dulcian players at the quiet Full weekend cost: $260; Saturday and and beautiful Waycross Retreat Center . Sunday only: $180; Saturday only: $120 . Immerse yourself in study with master After May 1 all fee categories increase by instructor Robert Wiemken (Piffaro) $10 . and support instructors Joan Kimball Contact: Brenda Bailey, 811 York St ,. (Piffaro) and Juan Carlos Arango Apt . 113, Oakland, CA 94610; (Lipzodes) . 510-893-9128; [email protected], Contact: www.earlymusicinmotion.org www.eastbayrecorders.org

www.AmericanRecorder.org March 2012 13 Mile High 781-488-3337 (day); 408-547-1464 Rondón, Karen Snowberg, Dale Taylor, Recorder Workshop (fax); [email protected], Todd Wetherwax and Pamela Wiese . amherstearlymusic.org Metro State College, Arts Building, Brochures available . See ChicagoARS.org, Denver, CO Suzuki Recorder Method WhitewaterEarlyMusic.org and Face­ May 19-20 Teacher Training book for downloadable files on class Special guest director/instructor Cléa schedules and some repertoire to be used, Galhano, with Linda Lunbeck, Anne Excelsior, MN or contact Carol Stanger for PDF files . Fjestad Peterson and Miriam Rosenblum May 28-June 1 Cost: $215 (double occupancy); $25 dis- Join us for a weekend of music and fun Teacher Trainer Mary Halverson Waldo count for new beginning recorder players . in the exciting city of Denver, CO . will cover Recorder Book 6 . Contact: Nancy Chabala, (housing/ Explore a variety of music and styles with Contact: [email protected] registration), 8609 45th St ,. Lyons, IL our exceptional faculty in a supportive 60534-1616; 708-442-6053 (day); Whitewater Early environment . Meet friends, new and old! [email protected]; Music Festival (ARS) Whether you are relatively new to the Pam Wiese (mailing/scholarships), recorder, or not-so-new and looking University of Wisconsin, Whitewater, WI [email protected]; Carol Stanger for a challenge, we have reading sessions June 1-3 (faculty/facilities), [email protected] and classes for you! Directors: Nancy Chabala, [email protected] Carol Stanger, Pam Wiese West Coast Recorders And Contact: ; Workshop (ARS) www.denverrecordersociety.org Our workshop is held on campus at the University of Wisconsin–Whitewater, San Francisco Bay Area, CA Amherst Early Music Spring about 60 miles SW of Milwaukee . June 3-5 Weekend Workshop (ARS) Director: Kathy Caldwell White, Classes include focus and specialty area Teacher Trainer for Recorder Teacher Wisdom House, Litchfield, CT instruction for all levels of recorder play- Development, Book 1 May 25-28 ing, consort da gamba, wind band Recorder and viol consorts, recorder mas- and vocal classes with instruments . Pre-Beginner—Professional . ter class, mixed ensembles, early notation, Special interest classes on Friday evening ARS scholar­ships: postmark by April 15 . English country dancing, all-group play- include recorder orchestra, and a Satur­ Faculty: Jennifer Henderson, M M. . ing and singing, Rogers Breukink day evening participant gathering led Flute; Kathy Caldwell White, Recorder recorder consort . by Louise Austin .The various classes and Suzuki Association of the Americas $225 full time, $150 mornings only . include music from Medieval to modern . Registered Teacher Trainer, ARS Room and board $285 per person Several music/instrument vendors; Dale Instructor, San Francisco Early Music (double occupancy), add $60 for single Taylor will be on site for repairs . All ages Society Member/Instructor . Both have occupancy . 2011 rates; 2012 rates are welcome, as well as non-participants . performed and taught music for more than 25 years in the U S. . and abroad . to be published soon . Faculty includes Louise Austin, Mark Contact: Marilyn Boenau, Director, Davenport, David Echelard, Charles Curriculum for students: Suzuki Recorder or Alastair Thompson, Administrator, Fischer, Shelley Gruskin, Lisette Kielson, School and/or Suzuki Flute School, pub- www.Alfred.com P O. . Box 229, Arlington, MA 02476; Patrick O’Malley, Laura Osterlund, Tulio lished by ; of the Renaissance, Baroque, Folk, See the special Celtic, music and movement, note read- ing .The Suzuki Recorder School features ARS Festival world-renowned early music perform- ers— Marion Verbruggen, recorders; Overview on Arthur Haas, harpsichord; Mary Springfels, viola da gamba—performing pages 23-26 on the companion CDs for the books . in this issue. The Suzuki Flute School features Toshio Takahashi and Mr .Yamashita . Register Now! Children (ages 3-18), parents, and teach- ers are invited to participate in special Early Bird Deadline: April 1 classes that are part of the required

14 March 2012 American Recorder observations by Suzuki teacher trainees . and ensemble, and Becky Baxter for his- yourself in French dances and Tuition for families or adult students: torical . Rounding out the list of per- (Attaingnant, Moderne, Phalese, etc ). $15 for 30 minute class . Parent informa- formers and/or faculty: Bruce Brogdon, with Scottish courtly airs and some of tion: http://suzukiassociation.org ; Daniel Johnson, voice and ensem- the earliest notated folk music! ble; and others . Teacher trainee pre-requisites: Every Participants will learn, arrange and per- Child Can! (six-hour course), active $445 tuition; room and board extra form .Topics will SAA member, high school graduate, $10 off tuition; early registration and include articulation, ornamentation, acceptable audition on DVD (two bring-a-friend discounts also available improvisation and ensemble arrange- months prior to course, or pending Contact: Daniel Johnson, PO Box 4328, ment .The workshop culminates with if less than 2 months prior to course) . Austin, TX 78765; 512-371-0099; a participant performance on period [email protected] www.toot.org instru­­ments including recorders, other Part of this specific Book 1 course will , early winds, , lutes, harpsichord and be offered on-line with Skype .There are Interlochen Early Music percussion .Vocalists are also welcome . 28 hours of class time and 15 hours of Workshop Participants supply their own instru- observations required . (Courses follow- ments . ing Book One include 15 hours of class Interlochen Center for the Arts, time and 8 hours of observations ). Interlochen, MI Tuition: $425 ($450 after April 1); room and board costs vary . Early Bird Teacher information, June 9-14 registration (deadline April 1) is Book One guidelines, audition: Director: Mark Cudek recommended, as space is limited . http://suzukiassociation.org . Make and enjoy Medieval and Renais­ Contact: Matthew Wiliford, Director, Teacher trainee tuition for Book One: sance music while learning new skills and techniques on the campus of Interlochen ICCA, PO Box 199, Interlochen, MI $500-650, depending on enrollment . 49643; 231-276-7387; 231-276-5237 May be paid in two installments in Center for the Arts, in the woods of (fax); [email protected], June and July . northern Michigan . http://college.interlochen.org, Contact: Kathy Caldwell White, Music for Mary, Queen of Scots. Immerse http://facebook.com/interlochencollege 925 Lakeville St . #347, Petaluma, CA 94952; 707-876-4627; [email protected]  Summer Texas Toot (ARS)   Concordia University, Austin, TX June 3-9 Director: Daniel Johnson   Administrator: Susan Richter  The Summer Texas Toot offers a one-  week program of classes at all levels,  focusing on Renaissance and Baroque  music, but with offerings for Medieval   and 21st-century enthusiasts as well .  Expert instructors in recorder, viol, early reeds, , harp and voice will tend to   young professionals, seasoned amateurs,  and eager beginners with equal care .  We are excited to announce the return of  the Flanders Recorder Quartet (yes, all   four of them!!) as our recorder faculty for  2012 .World-class viola da gamba lumi-  nary Mary Springfels returns to the Summer Toot, and we are happy to bring   back longstanding Toot faculty members  Tom Zajac as our instructor for “louds”

www.AmericanRecorder.org March 2012 15 Suzuki Recorder Method Faculty: Kati Kyme, ; Anthony Teacher Training Martin, viola and violin; William Skeen, Columbia, SC violoncello; and Lisa Weiss, violin . June 16-23 Tuition $510 ($560 after May 1); room Recorder Book 1 . Please contact Teacher and board $365 (single occupancy); Trainer Mary Halverson Waldo about meals only $165 JULY 5–8, 2012 • REED COLLEGE PORTLAND, OREGON prerequisite audition DVD, and “Every Contact: Kati Kyme, SFEMS, PO Box Child Can” introductory course . 10151, Berkeley, CA 94709; 510-517- [email protected] Contact: [email protected], 0692 ; , Scholarships for recorder www.sfems.org more information available at players to attend recorder http://suzukiassociation.org Summer Workshops SoundCatcher: Play by Ear! & Festivals San Francisco Early Music Arlington, VA • Society Classical June 17-23 Applications must be Workshop For Strings (ARS) Director: Tina Chancey postmarked by April 15, 2012. Coaches: Tina Chancey, John Tyson • St . Albert’s Priory, Oakland, CA Workshop scholarships are made June 17-23 Throw away your music stands! Learn to possible by donations from the Directors: Kati Kyme, William Skeen play early and traditional tunes by ear . Recorder Teacher’s Fund (ARTA), The SoundCatcher method combines Let’s Make History! SFEMS presents a Somerset Hills Scholarship and what you know and what you hear to new summer workshop for players of funds established make an aural map of the tune . Learn bowed strings . Guided by esteemed fac- to honor Andrew Acs, how to use your ear like a tape recorder, ulty from the New Esterházy Quartet, Jennifer Wedgwood Lehmann, to recognize melodic patterns and forms . Margaret S. DeMarsh participants will hone their chamber and Daniel Morris. music skills with this intensive one-week Improvement guaranteed! Requirement: • seminar . In addition to the music of a basic facility on your instrument (know AMERICAN RECORDER SOCIETY Mozart, Haydn and Beethoven, we will the note names and how to find them) . www.americanrecorder.org/ experience the music of lesser-known Since 1982, SoundCatcher has taught resource/scholars.htm but equally-talented . Classes hundreds of musicians to play by ear and [email protected] in period styles of articulating, phrasing improvise . Don’t be paper trained! and bowing (with an opportunity to try Contact: Tina Chancey, [email protected], Clas­sical period bows) .Workshop pitch www.tinachancey.net/SoundCatcher will be at both “Viennese” A=430 Hz and “modern” A=440 . For individuals San Francisco Early Music and groups . Open to all skill levels . Society Medieval & Renaissance Workshop (ARS) Sonoma State University, Join us! Rohnert Park, CA June 17-23 Membership is a great value: Early Music America is the Director: Tom Zajac w Online access to Grove Music Online ($295 value) service organization for the w entire field of early music in Online access to Naxos Music Library ($225 value) North America. The Art of the Consort .Whole or broken, w Early Music America magazine (quarterly) loud or soft, a cappella or mixed, the art w www.earlymusic.org E-notes (monthly) and Bulletin (semi-annual) enter discount code CY6KS of the consort is the art of performing w Membership Directory or mention this ad for a Medieval and Renaissance music . Join 15% discount EMA workshop, Berkeley 2010 us to explore the possibilities with an Call us toll free: unprecedented selection of classes related 888-722-5288 to the theme Art of the Consort . Besides the usual recorder, viol, loud band, and Early Music America 2366 Eastlake Ave. E. #429 voice offerings, there will be classes in Seattle, WA 98102 [email protected] harp, lute, , Renaissance flute, dulcian, and frame drums .

16 March 2012 American Recorder Coached by world-class specialists in Webb Wiggins), will again lead daily cate and entertain audiences with the Medieval and Renaissance music . master classes and ensemble coaching . music of Medieval, Renaissance, Baroque Special classes: Renaissance recorder Faculty and student concerts promise to and early Classical eras, and feature excit- consort, voices and viols, plucked string offer memorable listening and music- ing performers of national and interna- ensembles and lute songs . New this year making experiences, lectures and infor- tional stature using instruments of the are “one shot” classes, giving participants mal open discussions stimulate the intel- period and historically informed styles the opportunity to try familiar instru- lect, and the ever-popular and techniques . ments that are new to them as well as classes provide excellent physical exercise Pre-Festival Concert : Duo Amaral exotica such as jaw harp, , pipe as well as a kinetic appreciation for the (April 13) . and , and . Evening events rhythms that underlie so much music Summer Festival: Ingrid Matthews, with will include playing sessions, lectures, of the Baroque era . Seattle Baroque (June 22); and with concerts, and a theater project perfor- Contact: Anna Hoffman, Conserva- Byron Schenkman (June 24); Gut, mance . Ensemble coaching, Renaissance tory of Music, 77 West College St ,. Wind & Wire and the Cata­coustic , concerts, lectures, more . Scholar­ Oberlin, OH 44074; 440-775-8044; Consort (June 29); East of the River ships as well as academic credit or con- [email protected] 440-775-8942 (fax); , with Daphna Mor and Nina Stern tinuing education credit are offered . oberlin.edu /con/summer/bpi (July 1); & Luca Recorder faculty: Annette Bauer, Dan Pianca (July 13); Hes­perus presents the Stillman and Tom Zajac . Other faculty: Indianapolis Early Music Festival 1922 film classic Robin Hood (July 15) . Karen Clark, voice; Cheryl Ann Fulton, Our fifth annual Family Concert is on harp and Medieval ensembles; Grant Indiana History Center, Indianapolis, IN July 9: a free concert geared to young Herreid, lute and plucked strings; Greg June 22-July 15 audience members . Several groups Ingles, sackbut and loud band; Loren The Indianapolis Early Music Festival is also offer outreach events for younger Ludwig, viol; Peter Maund, percussion; the oldest continually running early (generally high-school-aged) musicians Eric Mentzel, voice; Mary Springfels, music concert series in the U S. . Presented and actors . viol and Medieval ensembles; Dan since 1967, our mission is to enrich, edu- Contact: [email protected], emindy.org Stillman, Renaissance reeds and loud band; Tom Zajac, Renaissance flute and all-workshop collegium . Oberlin Conservatory of Music Tuition $510 ($560 after May 1); room presents the 40th anniversary year and board $585 (single occupancy); room without meal plan $510 Baroque Performance Institute Contact: Tom Zajac, SFEMS, 17 - 30 June 2012 PO Box 10151, Berkeley, CA 94709; 617-323-0617; “circa [email protected]/France” [email protected] sfems.org , featuring a performance of Marais’ Alcyon Oberlin Baroque , Artistic Director Performance Institute with the Oberlin Baroque Ensemble Oberlin College, Oberlin, OH Michael Lynn, recorder & traverso June 17-July 1 Catharina Meints, viol & cello “c. 1700 @ Oberlin.edu/France” featuring Marilyn McDonald, violin a faculty/student performance of Marin Webb Wiggins, harpsichord & organ Marais’s Alcyon. This year marks the 40th anniversary year of the Baroque and an international faculty including Performance Insti­tute at Oberlin, Christopher Krueger, traverso & recorder America’s premiere summer workshop Gonzalo Ruiz, ; Kathryn Montoya, oboe & Recorder for and voice . Marc Vallon, The internationally renowned faculty, headed by the members of the Oberlin Baroque Ensemble (Michael Lynn, oberlin.edu/con/summer/bpi Marilyn McDonald, Catharina Meints,

www.AmericanRecorder.org March 2012 17

American Recorder Society 2012 1/4 page ad Kathy Sherrick 1129 Ruth Drive Kirkwood MO 63122-1019 t. 314-966-4082 f. 314-966-4649 [email protected]

Anna Hoffmann 440-775-8044 fax 440-775-8942 San Francisco Early Music Mountain Collegium Early Hershey, Roy Sansom, Pamela Dellal, Jay Society Baroque Workshop Music & Folk Music Rosenberg, Anne Legêne, Larry Wallach (ARS) Workshop and Josh Sholem–Schreiber—in a beau- Sonoma State University, Western Carolina University, tiful White Mountain camp setting, con- Rohnert Park, CA Cullowhee, NC duct a week-long workshop in early June 24-30 June 24-30 music (late Medieval through Baroque) . Directors: Frances Blaker, Kathleen Featuring Jody Miller, director and Faculty and student concerts, English Bach: Master Craftsman, Sublime Artist . recorder; other recorder faculty include country dancing, special lectures, morn- Play and sing the broad sweep of J S. . Pat Petersen, Gwyn Roberts, Anne ing and afternoon workshops in viols, Bach’s compositions—cantata and chorus Timberlake, Lisle Kulbach, Valerie recorders, voice, mixed ensembles, to , keyboard solo to chamber Austin and Barbara Weiss . Sephardic music and Baroque chamber ensemble . Known for his far-reaching music, and classes in Feldenkrais body The Smoky Mountains provide a lovely work . contrapuntal skills, outside-the-box har- location for Mountain Collegium . monies and exacting standards, Bach was Comfortable accommodations and class- Camp facilities include hiking, swim- also a master of heart-rending melody . rooms are in an air-conditioned, non- ming, boating; camp gardens supply His music reaches across time to touch smoking dorm (double or single occu- kitchen with vegetables . people of all sorts . Here is your opportu- pancy) with free high speed internet . Very affordable rates . $250 tuition; room nity to make beautiful music with like- Many meals are catered . and board $454 (double occupancy); minded enthusiasts . This informal yet intensive workshop room and board $491 (single occupancy) Classes for recorder, Baroque oboe, offers study of Medieval, Renaissance Contact: Larry Wallach, 69 Welcome Baroque flute, bassoon, violin/viola, and Baroque music, focusing on recorder, St ,. Great Barrington, MA 01230; ’cello, viola da gamba, harpsichord/organ viol, voice and other early instruments . 413-528-7212 (day); 413-528-9065 and voice, including our new program Classes include technique, improvisation, (evening); 413-528-7365 (fax); for choral singers Our. workshop chorus and a variety of consorts and repertoire . [email protected], is open to dedicated choral singers as Students may also choose classes in folk, www.worldfellowship.org well as to all vocalists and instrumental- Appalachian, Celtic, Sephardic and con- ists in the workshop . Elective classes temporary music . Small classes and easy CAMMAC Early Music Week include orchestra, chorus, oboe band, access to faculty create a friendly and Lake MacDonald Music Center, performance practice in action and con- relaxed experience . Harrington, QC, Canada tinuo . Master classes for instrumentalists Four periods each day provide options July 1-8 and singers; coached ensembles; Baroque for loud band, singing, Baroque flute, Directors: Matthias Maute, orchestra and chorus as well as faculty pennywhistle, dulcimer, hurdy gurdy and Marie-Nathalie Lacoursière and student concerts . Academic credit harp . Students will have an eclectic expe- or continuing education credit offered Music of Monteverdi () and Bach rience that brings them back year after through Sonoma State University . CAMMAC provides a unique opportu- year . Free time allows for informal music nity to make music with family and Recorder faculty: Frances Blaker, Marion making; evenings include group playing friends in a beautiful setting under the Verbruggen . Other faculty: Sand Dalton, and country dancing with a live band . A guidance of professional musicians . In Baroque oboe; Kathleen Kraft, Baroque faculty concert and an informal student four daily 75-minute classes plus lec- flute; Kati Kyme, ; Rita recital top off the week . Lilly, voice; Anna Marsh, Baroque bas- tures, early music lovers may play to Contact Jody Miller, 404-314-1891, soon; William Skeen, Baroque ’cello; their heart’s content . Small ensembles [email protected], and voice classes are set up ahead of Mary Springfels, viola da gamba; Peter www.mountaincollegiummusic.org Sykes, harpsichord; Bob Worth, voice time; registration for other classes occurs on site . Courses include choir, large and chorus . World Fellowship instrumental ensemble, many recorder Tuition $510 ($560 after May 1); room Early Music Week and viol classes, Medieval and Renais­ and board $585 (single occupancy); Chocorua, NH sance ensembles, Orff method and room without meal plan $510 June 25-July 2 Baroque dancing, plus courses for Contact: Kathleen Kraft, SFEMS, Directors: Jane Hershey, Larry Wallach adolescents and for children ages 4-11 . PO Box 10151, Berkeley, CA Music on the Cusps: 1450 and 1600 Key faculty: Matthias Maute, 94709; 707-799-2018; [email protected] sfems.org Faculty of seven—including Jane Christopher Jackson, Laura Pudwell, , 18 March 2012 American Recorder Francis Colpron, Gilles Plante, Sophie and adult participants . Moravian Loud Bands will provide a rich Larivière, Betsy MacMillan, Geneviève Cost: $80 tapestry of music from North America, Soly, Marie-Nathalie Lacoursière . in more colors than red, white and blue! Contact: Dr .Timothy Hein, P . O . Box Contact: Johanne Audet, 85 Chemin 6972, Columbia, SC 29260; 803-727- Tuition: $495 (student and other dis- CAMMAC, Harrington, QC J8G 2T2 8555; [email protected], counts available) . Room and board (dou- CANADA; 888-622-8755 X1; 819- www.columbiabaroque.com ble occupancy): $36 60. per person per 687-3323 (fax); [email protected], night . Room and board (single occu- http://cammac.ca/en/faculte-activite/ Madison Early Music pancy): $54 20. per night programme-estival/ Festival Contact: Chelcy Bowles, Mosse Human­ Columbia Baroque Soloists University of Wisconsin–Madison ities Building, 455 N . Park St ,. Madison, July 7-14 WI 53706; 608-265-5629; 608-262- Summer Recorder Institute [email protected] Directors: Chelcy Bowles, program; 4555 (fax); , www.madisonearlymusic.org University of South Carolina, Artistic Directors Cheryl Bensman School of Music, Columbia, SC Rowe, Paul Rowe July 2-30 Alberta Summer Guest ensembles are Anonymous 4, Suzuki Institute Playing in the French Manner: Written and Chatham Baroque with Chris Norman, Improvised Ornamentation. Performers The Rose Ensemble, Newberry Consort University of Alberta, and/or faculty: Jean Hein, Baroque and Kristina Boerger, conductor Edmonton, AB, Canada recorders; Jerry Curry, harpsichord July 8-14 Welcome Home Again! An American Director: Thomas Schoen Series of five classes on Monday evenings Celebration. The Madison Early Music for recorder and harpsichord players; Festival is exploring its North American ASSI 2012 is a project of the Edmonton music of Jacques-Martin Hotteterre, in 2012 . During this year of the Society for Talent Education and is held Francois Couperin and . Presidential election we look back to the at the University of Alberta-Edmonton Classes will focus on performing French early music of our nation, from the early Mary Halverson Waldo, Teacher Trainer, music “in good taste,” including French Colonists in the 1600s, the Revolu­- will offer the Recorder Practicum style and ornamentation . Recorder play- tionary era, all the way to the Civil War . Teacher Development course ; also stu- ers and harpsichordists will have oppor- The music of Canada from Cape Breton dent master classes and group class . tunities to play suites and dances together and Acadia will also be featured . Contact: Thomas Schoen, 10720 - 54th in addition to studying solo literature . Musical compositions brought to the Street, Edmonton, AB Canada One class session will feature a faculty U S. . and Canada from Europe, musical T6A 2H9; 780-944-4209; concert by Columbia Baroque Soloists . [email protected] discoveries from the library of Thomas , The last meeting will be a recital by the www.albertasuzukiinstitute.ca Jefferson, traditions of the New England / class participants . Sessions are open to Singing School of William Billings, and high school students, college students San Francisco Early Music Society Recorder Workshops (ARS) St . Albert’s Priory, Oakland, CA July 8-14 and/or July 15-21 Directors: Rotem Gilbert, Hanneke van Proosdij Week I: Visions and Miracles Week II: On Wings of Song We return with two weeks of Recorder Workshop in 2012 . Choose one week or come to both . Classes for intermediate and advanced players, amateurs and pro- fessionals, performers and soloists, con- ductors and music teachers in an inspir- ing and supportive atmosphere on this quiet campus . Recorder ensemble, tech-

www.AmericanRecorder.org March 2012 19 nique classes, Renaissance consort, concerts, lectures, more . Amherst Early Music Festival (ARS) Explore Medieval, Renaissance, Baroque, contemporary and Connecticut College, New London, CT world music, working with world-class teachers in small groups . July 8-15 and/or July 15-22 Special offerings: recorder orchestra, master class and coached Director: Marilyn Boenau informal playing .The recorder orchestra project for Week 1 Performers and/or faculty: Julianne Baird, Tish Berlin, Saskia will be a musical portrait of the life of Joan of Arc, directed by Coolen, Bruce Dickey, Vittorio Ghielmi, Myron Lutzke, Hanneke van Proosdij . In Week 2, Rotem Gilbert’s recorder Kaspar D . Mainz, Washington McClain, Drew Minter, Luca orchestra project, On Wings of Song, will set popular melodies Pianca, Gwyn Roberts, Nina Stern, Avi Stein, Daniel Stillman, in different ways . Han Tol, Glen Velez, Reine-Marie Verhagen, Wouter Featuring recorder faculty Vicki Boeck­man, Rotem Gilbert and Verschuren, Brent Wissick, Adam Woolf . Collegium leaders: Hanneke van Proosdij (both weeks); Janet Beazley and Paul week 1, Webb Wiggins; week 2, Michael Barrett . Leenhouts (week 1); Tish Berlin and Louise Carslake (week 2) Two weeks of classes for all instruments, voice and dance, all Other faculty: Peter Maund (week 1) and David Morris (week levels, including: recorder consorts, viol consorts, vocal ensem- 2); Katherine Heater will join us on harpsichord and Stacey bles, Renaissance reeds, early notation and much more! Pelinka will offer Feldenkrais movement sessions (both weeks) July 8-15: Baroque Academy, Opera Project, Historical Dance, Tuition: $460 ($510 after May 1); room and board $365 Baroque Flute, Oboe and Bassoon, Renaissance Reeds, (single occupancy); meals only $165 Recorder Boot Camp Contact: Rotem Gilbert, SFEMS, PO Box 10151, Berkeley, July 15-16: Music and Instrument Exhibition [email protected] CA 94709; 626-441-0635; , July 15-22: Virtuoso Recorder Program, Recorder Seminar, www.sfems.org Renaissance Reeds and , Traditional Repertories with Nina Stern and Glen Velez, Vittorio Ghielmi and , Ensemble Singing Intensive Opera Project: Telemann’s Der geduldige , directed by Drew Minter

San Francisco Early Music Society Summer Workshops 2012 Recorder Workshops · July 8–14 and July 15–21 Week 1: Visions and Miracles. Week 2: On Wings of Song · Classes for intermediate and advanced players, amateurs and professionals in an inspiring and supportive atmosphere. Pick your week or come to both. Recorder ensemble, technique classes, Renaissance consort, concerts, lectures and more. Explore medieval, Renaissance, Baroque, contemporary and world music, working with world-class teachers. Small classes. Quiet campus. Special offerings: Recorder orchestra, Renaissance consort, recorder master class, coached informal playing. Faculty: Vicki Boeckman, Rotem Gilbert and Hanneke van Proosdij (both weeks); Janet Beazley and Paul Leenhouts (week 1); Tish Berlin and Louise Carslake (week 2). Info: Rotem Gilbert, 626-441-0635; [email protected] Medieval & Renaissance Workshop · June 17–23 The Art of the Consort · Ensemble classes for recorders, voices, early reeds and winds, viols, medieval and Renaissance strings and percussion. Ensemble coaching, Renaissance choir, concerts, lectures and more. A wide variety of classes in technique and repertoire for recorder and mixed ensembles. Featuring recorder faculty Annette Bauer, Dan Stillman and Tom Zajac. Info: Tom Zajac, 617-323-0617; [email protected] Baroque Workshop · June 24–30 Bach: Master Craftsman, Sublime Artist · Master classes, recorder ensemble, concerto evening, coached ensembles, , concerts and lectures. Featuring recorder faculty Frances Blaker and Marion Verbruggen. Info: Kathleen Kraft, 707-799-2018; [email protected] Music Discovery Workshop · July 29–August 3 A Midsummer Night’s Dream · Multicultural day camp for young people ages 7 to 15. Early music and Renaissance social history. Instruction in recorder, harpsichord, strings, chamber music, musicianship, , crafts, costume-making and more. Beginners to advanced students welcome. Featuring recorder faculty Louise Carslake. Info: Tish Berlin, 510-559-4670; [email protected] For more information, visit our web site: www.sfems.org

20 SFEMS-ARS-Mar12_v3.indd March 2012 American 1 Recorder 1/31/12 2:00 PM Tuition $535+, room and board $160+, work study and scholarships available Contact: Marilyn Boenau, Director, or Alastair Thompson, Administrator, P O. . Box 229, Arlington, MA 02476; 781-488-3337 (day); 408-547-1464 (fax); [email protected], www.amherstearlymusic.org

Mideast Workshop (ARS) Laroche College, Pittsburgh, PA July 15-21 Director: Marilyn Carlson Chansons & Dances of Late 15th - Early 16th Centuries . 55-60 students of all ability levels .We offer recorder (all levels except novice), viol, harp, flute .You may enroll for recorder, viol, flute as primary International Baroque gets to sing, play and dance (unless you instrument; harp, voice, recorder, viol Institute at Longy don’t want to, of course)! as secondary instrument . Large and www.huismuziek.nl/main. small ensembles: all-workshop ensemble Longy School of Music, Contact: php?index=465&id=7190 (instruments and voices), Renaissance Cambridge, MA , [email protected] band (recorders, viols, capped reeds), July 20-29 Directors: Paul Leenhouts, Medieval collegium (The Sound of Sacred Boxwood Canada vs. Secular Music), consorts (by level), Phoebe Carrai vocal ensemble . Naples, the Conservatory of Europe Lunenburg, Nova Scotia, Canada Classes include Harp-for-Novice, Faculty: Paul Leenhouts, recorder; July 22-28 (opportunity for hands-on experience Phoebe Carrai, ’cello; Rosa Dominguez, Director: Chris Norman without owning an instrument), Intro­ voice; Arthur Haas, harpsichord; Discover musical and dance traditions duction to Medieval . Other Manfredo Kraemer, violin; Ken Pierce, while visiting one of North America’s classes: Classes (two lev- historical dance; Gonzalo Ruiz, oboe; most exquisite 18th-century seaside els), Contemporary Music, Improvisation Jed Wentz, traverso . towns . Concerts, dances, classes, lectures (yes, you can do it!), The Basse Danse Tuition $675 (work study available) . with leading artists in traditional folk, (monophonic and polyphonic) . Room and board $480-640 (single early music, dance and improvisation . MiniSeries topics TBA . occupancy); hospitality available . Faculty/guest artists: Sophie Larivière, Faculty: Marilyn Carlson, director; Contact: Karen Burciaga, Assistant recorder; Rachel Brown & Matthias Stewart Carter, Judith Davidoff, Eric Registrar, 27 Garden St ,. Cambridge, Maute, recorder, Baroque flute; Chris Haas, Emily O’Brien, Alan Purdum, MA 02138; 617-876-0956 X1575 (day); Norman, Brad Leftwich, Emer Mayock, David Greenberg, Patsy Sed­don, Marie Peter Ramsey, Majbritt Young 617-876-9326 (fax); karen.burciaga@ Bouchard, Barry Phillipo, Mathew Christensen, James Young . longy.edu, www.longy.edu All facilities are air-conditioned . Private Ol­well, Marlys Norman, Eamon bath, refrigerator/microwave, live internet Huismuziek Renaissance O’Leary, Edmund Brownless, Adrianne in each room . Summer Course Greenbaum, Patrick Olwell, Forbes & Yola Christie Tuition $390 . Room and board $400 YMCA, De Glind, The Netherlands (double occupancy), $595 room and July 21-28 See web site for pricing .Work study and scholarships available . Gourmet cuisine . board (single occupancy) Song, Music, Dance! Contact: Marilyn Carlson, 1008 Afton Contact: Chris Norman, Boxwood, Jacqueline Dubach, recorders; Frank PO Box 225, Lunenburg, NS B0J 2C0 Road, Columbus, OH; 43221-1680; Perenboom, dancer and choreographer; [email protected]. CANADA; 443-352-0502 (U S. ),. 614-754-7233; and tenor Christopher Kale take care of boxwood.org com www.mideastearlymusic.addr.com 902-553-0651 (CAN); , , singers, dancers and players . Everyone [email protected]

www.AmericanRecorder.org March 2012 21 San Francisco Early Music ready our muscles for performance . Society Children’s Music Daytime sessions focus on rhythmic Discovery Workshop (ARS) challenges, recorder technique and Crowden Center for Music in ensemble blend; emphasis is on growth, the Community, Berkeley, CA process and, most of all, enjoyment .To July 29-August 3 (day camp) participate fully, you need at least inter- Director: Letitia Berlin mediate skills on a C or F recorder . A Midsummer Night’s Dream. Early music Adrianne Paffrath coached on recorder and Renaissance social history for young with ARS teachers . She is music director people ages 7 to 15 . Study the music and at Racine’s First Presbyterian Church . dance of England in Shake­speare’s time . Patricia Badger has studied early music Beginners to advanced students are wel- instruments, natural and classical trum- come . Instruction includes mixed ensem- pet . She is performing arts head of The bles, musicianship, Renais­sance dance, Prairie School . Jointly, they have per- crafts, games and a production of a formed for Medieval festivals, grape Shakespearean play! Friday night the- stompings, Shakespeare celebrations ater project presentation and student and a circus parade . recital, with a delicious potluck feast . Cost: $860 Dorm Room Package; $890 Featuring recorder faculty Louise Two-Person Room Package; $1250 Carslake . Other faculty: Letitia Berlin, Single-Person Room Package (limited musicianship; Shula Kleinerman, theater availability); $485 Commuter (limited project and dance; Carla Moore, violin availability) and viola; Farley Pearce, ’cello and viola Contact: The Clearing, PO Box 65, da gamba; Yuko Tanaka, harpsichord . Ellison Bay, WI 54210-0065; For adults during the workshop: a special 877-854-3225; 920-854-9751 (fax); music history/listening course, “Baroque [email protected], and Beyond: the Music of Telemann www.theclearing.org and his Successors,” will be presented by John Prescott, M-F 9:30-noon, Early music Week at www.sfems.org for details . Pinewoods Camp (ARS) Please note this is a day camp . Out-of- Pinewoods Camp, Plymouth, MA town students, please contact the director August 11-18 regarding accommodations with host Performers and/or faculty include: Geert families . Some financial aid available . van Gele, Judy Linsenberg, Pat Petersen Cost $430 ($460 after May 1); (recorder); Ellen Delahanty (voice and $50 discount for additional siblings . recorder); Daphna Mor (recorder and percussion); Joan Kimball and Bob Contact: Letitia Berlin, SFEMS, Wiem­ken (Renaissance winds); Tom PO Box 10151, Berkeley, CA 94709; Zajac (winds and all-camp collegium); 510-559-4670; discoveryworkshop@ Frances Conover Fitch (harpsichord and sfems.org, www.sfems.org director); Eric Haas (recorder and flute); Recorder at the Clearing Scott Higgs, Peggy Vermilya (English country dance); Jane Hershey, Larry The Clearing, Ellison Bay, WI Lipkis, Sarah Mead, Mary Springfels July 29-August 4 (viol); Dorothy Olsson (historical dance); Directors: Pat Badger, Adrianne Paffrath Tim Rayborn (lute, voice and percussion) Recorder ensemble has been a tradition This unique early music workshop takes at The Clearing for over 25 years . place at beloved and semi-rustic Pine­ Ensemble playing is the week’s focus . woods Camp . In a relaxed atmosphere, Each day begins with a warm-up of campers combine classes with renowned voices and bodies as we sing rounds and 22 March 2012 American Recorder performers, historical and English Country Dance classes, evening dances, lectures, an all-camp collegium, swim- ming, delicious meals, a faculty concert, a hilarious scholarship auction, fun skit night, and informal music-making . Classes related to this year’s theme, The Iberian Spirit: , and the Hispanic Diaspora, will be supplemented by basic technique classes, chorus and historical dance . The Viol Intensive, directed by Mary Springfels, will provide more focus on the viol, although these members will be full participants in the workshop . Cost: $910; scholarships available . Contact: Steve Howe, Country Dance and Song Society, 116 Pleasant St ,. $650 due March 15, balance due June 15 . Week 2 Faculty: Tish Berlin, Frances Suite 345, Easthampton, MA 01037- Contact: Esther Saulle, Blaker (recorder); Joanna Blendulf (viola 2759; 413-203-5467 X2; [email protected], da gamba); Shira Kammen (early [email protected], www.cdss.org/em www.facebook.com/recorder.workshop strings); other faculty TBA . Medieval Crossroads Recorder technique, viol consort, Hidden Valley Institute Baroque chamber music, consort classes Of Europe for the Arts Early Music for Medieval, Renaissance, Baroque and Castle Glarisegg, Steckborn, Road Scholar contemporary repertoire, workshop September 24-October 1 Carmel Valley, CA orchestra . Evening events include faculty Join us for an intimate, seven-day October 28-November 3 concert, student concert, free-lance play- recorder workshop in Switzerland! This November 4-10 ing . Free Wednesday afternoon for more intensive workshop will cover many Directors: Letitia Berlin, workshop; playing or sightseeing . Improve your musical styles including Medieval, Peter Meckel, HVIA playing in a supportive, friendly atmo- sphere with world-class teachers . Renaissance, Baroque and beyond . Enroll for one or both weeks . Our faculty features four beloved and Adults of all ages welcome . Double room/board/tuition: $827 . Single room/board/tuition: $1,127 . accomplished recorder instructors: Vicki Week I: intense classes for upper inter- Boeckman, Cléa Galhano, Gayle Stuwe mediate to advanced levels . Faculty: Contact: Peter Meckel, PO Box 116, Neuman and Philip Neuman . Farallon Recorder Quartet (Annette Carmel Valley, CA 93924; Students will play in both small groups Bauer, Tish Berlin, Frances Blaker, 831-659-3115; 831-659-7442 (fax); [email protected] hiddenvalleymusic.org and large ensemble . Intermediate to Louise Carslake); viola da gamba TBA . , advanced recorder players are encour- aged to apply; musicians in voice, viola da gamba, and double reed instruments Workshops carrying ARS designation in their descriptions are also welcome . have joined the ARS as workshop members. Other shorter In addition to making beautiful music, workshops may be spon­sored periodically through the year workshop participants can explore the by ARS chapters, and are listed in the calendar portion of region through planned excursions and each ARS Newsletter, as well as on the ARS web site, when optional trips .You’ll also have the oppor- information becomes available from presenters. tunity to enjoy locally-focused cuisine and experience Swiss hospitality at its Do you have a favorite workshop experience? finest . Post that on the American Recorder Facebook page, $1650 covers instruction, lodging, three www.facebook.com/americanrecordermag. meals a day, and planned excursions . www.AmericanRecorder.org March 2012 23 Chapters & Consorts ______Chapters stayed busy during the holidays

Northwinds Recorder Society, whose The group has about 15 mem- Sally Mitchell led about 20 Moss Bay members are drawn from the northwest bers who divide themselves into several Recorder Society players in a selection area of Michigan’s Lower Peninsula, consorts, and often are seen playing in of holiday pieces of diverse national helped raise several hundred dollars for Renaissance costumes for local events . origins and moods, most dating from the Charlevoix Hospital by offering This is not their first time on the auc- before 1750 and some (by Leonhard themselves for the bidding at the 19th tion block, having previously helped Schröter) written for two four-part annual Holly Daze fundraiser, hosted the hospital and also the Great Lakes recorder choirs . Included was “Sally’s in December by Charlevoix Area Chamber Orchestra at similar fund- swinging setting” of Jingle Bell Rock, Hospital Founda­tion .Their playing raisers . enjoyed by all . was part of a package including tickets At the Redmond (WA) Library Library visitors stopped to listen, to a Renaissance Dinner at Castle on the afternoon of December 10, and a young eight-year old player, who Farms, also the fundraiser venue . arrived with his dad, joined in .When the playing ended, departing partici- Recorders Resound in Philadelphia Subway pants took with them large helpings of Dubbing themselves holiday cheer to accompany the tunes the Suburban Station dancing in their heads . East Bay (CA) Recorder Quartet, four The Society recorder players said goodbye to Christmas and (l to r: Dick Weber, hello to the New Year with just a little Tish Berlin tenor; Melissa more festive holiday music . Thomson, alto; led the chapter’s January meeting, on a Molly Gar­rett, theme of “Vom Himmel hoch, da soprano; John komm ich her ”. The group played Gangwisch, bass) Martin Luther’s setting of the famous heralded the Christ­ tune, with German text and English mas season by play- Honeysuckle Music ing holiday favorites for busy commuters in the Philadelphia Honeysuckle Music (PA) Suburban Station subway. They gathered on three Tuesdays and Thursdays in December from 3-5 p.m., intend- Music for recorders, ing only to broadcast good spirits and promote the recorder. strings, flute, & However, when listeners started dropping money into a bas- HoneysuckleHoneysuckle Music MusicMusic ket, the group expanded their mission and chose to donate chamber groups their proceeds to Philabundance, the region’s largest hunger Recorders &... accessories relief organization. The quartet sent a check for $424 accom- RecordersMusic for &... recorders, accessories panied by a letter stating their purpose: “... spreading good Musicstrings, for flute, recorders guitar & viols & cheer for the season and raising money for a local non-profit organization.” Downingtown resident Gangwisch, who has JeanchamberJean Allison Allison groups Olson Olson performed solo stints at this site, arranged these sessions with 16041604 PPortlandortland... Ave. Ave. St. Paul, MN 55104 Garrett (Philadelphia, PA), Thomson (Rydal, PA) and Weber RecordersSt. Paul,651.644.8545 & MN accessories 55104 (Trevose, PA). All four are members of the Phila­delphia [email protected] Recorder Society, www.PhiladelphiaRecorderSociety.org. wwwJean.honeysucklemusic. Allison Olsoncom [email protected] 24 March 2012 American Recorder 1604 Portland Ave. St. Paul, MN 55104 651.644.8545 www.honeysucklemusic.com [email protected] translations for those inclined to sing, and then moved to a homo- rhythmic setting by Johannes Eccard Order your (1553-1611) .The meeting ended with two versions of Von Himmel hoch by recorder discs J . S . Bach—an arrangement of one of his settings for organ, and a four-part . through the The Greater Denver (CO) Chapter’s Now & Then consort ARS CD Club! played at several holiday celebrations The ARS CD Club makes hard-to-find or limited release north of the city . On December 2, CDs by ARS members available to ARS members at the special price listed. All CDs are $15 ARS members/ their concert at the Louisville Public $17 Others unless marked otherwise. Two-CD sets are $24 ARS members/ Library was timed to end at the start $28 Others. Add Shipping and Handling: $2 for one CD, $1 for each additional CD. of the Louisville Parade of Lights . An updated list of all available CDs may be found at: www.americanrecorder.org. From there, they went straight to Aar River Gallery’s First Friday evening CDs from cléa galhano event in West­minster .Whew! ____Circle of the Dance, Alma Brasileira. Cléa Galhano, recorders; Joan Griffith, guitar, Two December lunchtime hospi- , ; Lucia Newell, voice. All three have their unique connections to the country and and in this recording they bring these very personal intimacies tal holiday gigs by the group included together to create music with a spirit of life and love, that in a world overwhelmingly filled Long­mont Com­munity Hospital and with difficulties, will transport you to a place of joy, peace & calm. 2010 ,Creation Audio the employee holiday luncheon at ____Distribution of Flowers, Cléa Galhano & Tony Hauser. Works by Argentinian Lafayette’s Good Samari­tan Exempla . accordion virtuoso Astor Piazzolla, The History of , & Brazilian com­posers including They also played for sell-out crowds at Villa Lobos, Pixinguinha, Hermeto Paschoal, Waldir Azevedo. 10,000 Lakes a Medi­eval feast on January 13-14 at ____Gathering/Hui, Belladonna Baroque Quartet & Gao Hong, Chinese Boulder’s Centaurus High School . Melodies from China and 17th Century Europe. 10,000 Lakes The group was honored by being ____Party of Five: A Feast of Vivaldi & Telemann, Blue Baroque Band, 10,000 Lakes chosen to offer early dance music as “Then, Not Now” by Now & Then ____Songs in the Ground, Cléa Galhano & Vivian Montgomery, 10,000 Lakes at the Early Music Colorado 19th Annual Fall Festival farallon recorder quartet: in October . Letitia Berlin, Frances Blaker, Louise Carslake, Hanneke van Proosdij Group members are Pam Grotegut, Joyce Shambaugh, Ann Sprague ____Senfl, Ludwig - Lieder, Motets, Instrumental Works. Prolific and imaginative, Senfl was truly one of the great composers of the Renaissance. Today Senfl’s music is little and Rose Marie Terada. known except for a handful of compositions. This recording will move the hearts, excite the minds and prick the curiosity of listeners. Pandore 2005 CHAPTER NEWS ____From Albion’s Shores: Music of England from the to Purcell. Chapter newsletter editors and publicity offi- Music from 14th-century England up to Purcell. , Peter Philips, cers should send materials for publication to: , Antony Holborne, Anonymous, William Cornysh, John Bull, ,Giovanni AR, [email protected], Coprario, Alfonso Ferrabosco and . 2011. 7770 South High St., Centennial, CO 80122-3122. Also send short articles about specific activities that have increased chapter Please indicate above the CDs you wish to order, and print clearly the following: membership or recognition, or just the Name:______Daytime phone: (____) ______enjoyment your members get out of being part Address: ______City/State/Zip:______of your chapter. Digital photos should be at _____ single CDs x $____ = $______least 3”x4”x300dpi TIF or unedited JPG _____ 2-CD sets x $____ = $______files. Digital videos for the AR YouTube Shipping/Handling: $2 for one CD, $1 for each additional CD $______channel are also accepted. Please send news, _____ Check enclosed for TOTAL $______photos or video enquiries to the AR address _____ Please charge the above amount to my MasterCard, Visa or AmEx: # above, and to the following: ARS Office, [email protected], ______Exp. Date: ______Cardholder’s signature:______PO Box 220498, St. Louis MO 63122; and to Bonnie Kelly, Chair, Chapters & [email protected] Consorts, , Mail to: ARS, PO Box 220498, St. Louis, MO 63122-0498 U.S. 45 Shawsheen Rd. #16, Fax a credit card order to 866-773-1538 Bedford, MA 01730.

www.AmericanRecorder.org March 2012 25 The Adirondack Baroque Consort kicked off its 50th anniversary year by performing at the Saratoga Springs (NY) First Night 2012, where their theme was ““Art Unleashed...Going for Baroque!” As part of its 50th-year celebration of “making early music come alive,” ABC has announced that Australian composer Benjamin Thorn has composed a suite of dances for the group. The title, Any Blue Cat Dances, reflects the initials of the group; Thorn describes the work as a dialog “between a contemporary composer and ancient forms. Also, note that ‘dances’ can be both a noun and a verb.” ABC will premiere the suite this year, and it will be published by Loux Music Company / Dovehouse Editions Canada and available at music stores later in 2012.

Correction In the report entitled, “Recorders Join Handbells,” published in the Chapters & Consorts department on page 24 of the January AR, some information was incorrect . Bill Nelson has clarified some points . The report mentions that Suite for Recorder and Bells by Donald E. Allured is not yet available for gen- eral performance by other groups . Nelson says it may be performed . There is no cost, but groups need to request permission by contacting Nelson at [email protected] (or at the address in the story) . Members of the Carolina Mountains Recorder Society gave a Also, Allured’s wife is men- December 3 performance at the annual Historic Johnson Farm tioned in the article as being named Christmas Festival in Henderson­ville, NC: (l to r) Lloyd Slocum, Marjorie; her name is Melissa . Don Taws, Carol Markey, Sharen Hafner. (Photo courtesy of AR regrets these errors . Carol Markey)

26 March 2012 American Recorder The Recorder: Past, Present & Future

SAVE THE DATE! Make plans now to attend the ARS 2012 Festival, July 5-8, 2012, in Portland, Oregon, hosted by the American Recorder Society and the Portland Recorder Society.

Portland will be filled with recorder music this July as 100 and more Lectures: recorder performers, players, teachers, students, administrators, and music busi- American Jazz ness members gather at the Reed College campus for the exciting American Ancient Greek Music Recorder Society 2012 Festival, themed The Recorder: Past, Present & Future. Ancient Voices The Festival kicks off on Thursday, July 5, with a festival-wide Recorder Early Notation Orchestra rehearsal of one of Paul Leenhouts’ compositions. Leenhouts and Cléa Instrument Maintenance Galhano will conduct two plenary sessions for Recorder Orchestra during the Play Smart: Stay in the Game Festival. This is your Body on Music During the Festival, sessions provide opportunities for participants to expe- rience the depth of the recorder throughout the history of its past, the diversity Playing Sessions: of the recorder in present times, and the possibilities before us for the future. The Art of the “One goal of this event is to provide offerings that you cannot experience at Hot off the Press for Ensembles recorder or early music workshops,” said Lisette Kielson, President of the ARS. “We want to celebrate our rich heritage, enjoy and acknowledge what’s going No Bass Required on right now in the recorder scene, and think creatively about the future of the Playing Barless recorder and its music.” Renaissance with Reeds The Festival offers an equal balance of lectures, sessions on techniques and Traditional performance practice, and playing sessions. Also sessions on recorder educa- World Music tion, on recorder and recorder player maintenance, and sessions focused on 20th Century Music early music and on contemporary music. Of special mention are the three major components of the Festival: Recorder Orchestra, Ancient Greek music, and Teacher Training: Recorder Teaching Sampler. Expanding Your Recorder Of course, no ARS Festival is complete without music. Concerts and mini- Community concerts will be performed throughout the Festival by Paul Leenhouts, Cléa Orff Method Galhano, Vicki Boeckman, Phil and Gayle Neuman, and Verena Wüsthoff. Recorders without Borders A variety of practical and thought-provoking round table sessions on Suzuki Method Introduction Recorder Orchestra, Teaching the Recorder, and Chapters and Consort issues will be offered. Recognition of achievement in the recorder music field by chapters Technique & and individuals will be made on Saturday evening. Performance Practice: Join your recorder friends in the lovely Pacific Northwest this summer when Essential Graces we celebrate The Recorder: Past, Present & Future. Ostinato Bass -- ARS Board of Directors Thought You Couldn’t Count Tone by Numbers Tuning Up Your Ensemble

AND: Master Classes PSH Award Ceremony Recorder Orchestra Round Tables Vendors

For more details on the ARS 2012 Festival: www.americanrecorder.org. American Recorder March 2012 27 The Recorder: Past, Present & Future

EXPERIENCE THE RECORDER’S RICH PAST

ANCIENT GREEK MUSIC Enjoy the complex of The Art of the Fugue, It is fortunate for the pursuit of ancient Greek presented by Letitia Berlin music that a large legacy of writings on this subject survives. Over 60 examples of this exciting ancient repertoire are known to survive. Discover the invigorating music of Hans Ulrich Staeps The extant pieces, preserved mainly on stone with Vicki Boeckman and papyrus, span nearly 800 years, from the 5th century bce to the 3rd century ce, and show a wide diversity in style. Try out Barless English and Spanish music Gayle and Philip Neuman, Ensemble De with Mark Davenport Organographia, will perform the music of Ancient Greece on voice and a wide variety of replicas of period instruments. Unleash your musical passion, playing world The Neumans will also present four separate music with Cléa Galhano sessions: Music of the Ancient Sumerians and Egyptians, Ancient Greek Musical Notation and Meter, Ancient Greek Music Theory and Instru- Play exciting music from Medieval and Renaissance ments, and Greek music from the Roman Empire. times, with Adam Gilbert as your coach

Soar to musical heights with music specially selected by Paul Leenhouts

(from left to right) kymbala, syrinx mono- Patrick O’Malley will treat you to a test drive kalamos, aulos teleios of ensemble music that’s hot off the press (double pipes), kithara

Explore Early Music Notation with Patricia Petersen

ANCIENT VOICES: IMAGES OF THE RECORDER FROM Let Nina Stern introduce you to the music of TOMB PAINTINGS THROUGH the Balkans, Armenia, and the Middle East TELEMANN

Join Valerie Austin in the visually-supported presentation of early images of the recorder and recorder-like instruments, along with the context of these images, from pre-history through the early baroque era.

28 March 2012 American Recorder For more details on the ARS 2012 Festival: www.americanrecorder.org. The Recorder: Past, Present & Future

AWARD CEREMONY for individuals and chapters. Peter Seibert, Presidential Special Honor Award recipient

CHAPTERS AND CONSORTS

Playing the recorder and its music is one way for people to connect with them- selves, but it is also a bridge for connecting Why does the NY Times love Portland, Oregon so with others. The ARS is all about making much? What are its hidden secrets? Is it really “Portlandia”? music with other like-minded people. What We encourage you to come and see for yourself! an opportunity to gather top players, teach- The ARS 2012 Festival will be on the campus of Reed ers, and enthusiasts in one place to share College, a small private liberal arts school. Students and their love and connections with the alumni invariably recorder and its music. talk about the And besides harmony over lunch and beautiful historic dinner, the Festival will feature a Round campus, with its Table for members of ARS chapters and lawns and trees consorts to meet for creative discussion and a 28-acre and idea exchange. The Round Table at the nature preserve. festival in St. Louis in 2009 was an excellent The elegant dorms, time for participants to share ideas and dis- built in 1912, fea- cuss concerns. ture kitchens and Your group is not alone. Issues with laundry facilities; finances or leadership succession? the school is Membership and member retention? known for its excellent cafeteria food and helpful staff. So Copyright issues? Instrument sharing? we get great food, lovely surroundings, beautiful people, and Fundraising, newsletters, social media? exciting recorder music. What more could a recorder player Balancing needs of beginners with more possibly want? experienced players? The campus adjoins the Crystal Spring Rhododendron The Chapter and Consort Round Table Garden, Eastmoreland Golf Course, and Trader Joe’s. It’s five will be one of the most important events at miles from downtown and 30 minutes by the #19 bus. Or be the ARS 2012 Festival. We want your par- a local and rent a bike for the weekend. ticipation! We want your input about the Portland offers fine museums, green future of your organization and the future markets, parks and restaurants. The of recorder playing in your community. city has an excellent public transit sys- And we want all of our members and chap- tem and is famous for its home-grown ters to know that we are interested in your beers. Visit our website for more travel concerns, whether you’re in Boston or and visitor information: Boise. When you are in Portland, be sure www.AmericanRecorder.org. to attend this event to join us at the Chapter and Consort Round Table! See you at Reed College this July! CELEBRATE CHAPTERS! Bring your chapter’s banner for group display. East Bay Recorder Society Banner

For more details on the ARS 2012 Festival: www.americanrecorder.org. American Recorder March 2012 29 The Recorder: Past, Present & Future RECORDER ORCHESTRA All participants at the 2012 Festival are RECORDER invited to play in the Festival Recorder TEACHING SAMPLER Orchestra, conducted alternately by Paul Throughout the festival, ses- Leenhouts and Cléa Galhano, on Friday and sions on teaching the recorder and Sunday. The Recorder Orchestra offers the its music will be held. Nina Stern opportunity to play larger-scale works while brings to the festival her acclaimed enjoying the camaraderie and esprit de corps “Recorders Without Borders” that can only be achieved by having the entire course, a program Ms. Stern has Festival family play together. developed in the classroom over Recorder Orchestras have been one of the more significant the last ten years. developments in recorder playing over the past 30 years. Dozens Letitia Berlin offers a class of Recorder Orchestras have sprung up around the globe—the United geared specifically toward players States has the Colorado Recorder Orchestra, Los Angeles Recorder who would like to learn how to Orchestra, Manhattan Recorder Orchestra, Recorder Orchestra of the improve their own technique and Midwest, Seattle Recorder Orchestra, and others. pass on those skills, developing and Recorder Orchestras vary in size, but typically have 10 to 60 maintaining classes for adult begin- members. Instrumentation can stretch from sopranino to contra- ners in their communities. bass, down to even sub-greatbass and sub-contrabass. Because of On Saturday a full day of their size and range of instruments, Recorder Orchestras can achieve Teacher Track curriculum is offered. a greater depth and volume than smaller ensembles and can play Are you curious about the Orff music having many parts, sometimes ten or more, with several method? Or the Suzuki method? instruments on a part. This makes Recorder Orchestras well-suited Valerie Austin, certified Orff for adaptations of large symphonic works. The growing repertoire teacher, and Patrick O’Malley, for Recorder Orchestras includes original compositions by such Suzuki instructor, offer a series of composers as Peter Seibert, Glen Shan­non, Paul Leenhouts, and Ian four non-repeating sessions (two Farquhar, as well as adaptations of symphonic works, early music, each) on the two approaches to organ pieces, jazz, and even Rock and Roll! recorder education. The Festival Recorder Orchestra will be under the able batons of Leenhouts and Galhano, who will alternate conducting duties. Leenhouts initiated the Open Holland Recorder Develop and Festival Utrecht and was the director of the First hone your skills European Recorder Performance Festival. Refine your technical skills and Galhano is the director of the Recorder Orchestra performance practice methods in ses- of the Midwest in Bloomington, Indiana. They sions led by Vicki Boeckman, Mark are sure to bring beautiful and fascinating music Davenport, Frances Feldon, Lisette and conduct the orchestra with spirit. Kielson, Paul Leenhouts, Patricia We hope the Festival Recorder Orchestra will Petersen, and Verena Wüsthoff. challenge you to improve your ensemble playing This is your body skills. It should also be rewarding and fun! If you can, please bring your basses, greatbasses, and contrabasses to the Festival so that on Music we will have a large and full “low” section for the orchestra. Anne Timberlake, a profes- sional recorder player and licensed Master Classes led by Paul Leenhouts and Cléa Galhano speech-language pathologist, offers a friendly field guide to our physical American Jazz musical selves. The role of the recorder has recently “exploded” undoubtedly In a separate session she will as part of a more general movement in music that busts the advise us how to play smart and stay boundaries of genre and style. Find out more in Frances Feldon’s in the game through our golden years. session.

30 March 2012 American Recorder For more details on the ARS 2012 Festival: www.americanrecorder.org. ______On the Cutting Edge ______Happy Birthday, Gerhard Braun!

By Tim Broege, [email protected] I first came across his name many years earlier when I hap- pened to spot the score to his recorder composition Monologe I ebruary 27 was the 80th birthday of legendary German in a music bin at Patelson’s music store in New York City. It composer, teacher and recorder performer Gerhard looked absolutely wild and its concept seemed to trigger all sorts FBraun . Professor Braun was born in 1932 in Heidenheim of imaginary sounds. I, of course, wanted to learn it and eventu- an der Brenz in Southern . ally did. Still, later on, I would have a similar reaction when I The occasion of his 80th birthday is being celebrated heard Gerhard’s protégé, Johannes Fischer, play the monstrously by a Competition for Performers of Contemporary Music, difficult Atembogen (also known as Monologe IV). sponsored by Mollenhauer .The Academy of Music in Gerhard is a perfectionist. He ran his symposiums very Darmstadt, Germany, is hosting the event on March 2-3 . tightly­­—all events started precisely on time. He made sure of Results of the competition will likely be available on the that by playing on a large gong from a central location at Internet by the time this column appears . the start of each event. Now retired, Braun was a founder and former president I am honored and proud to be Gerhard’s friend. of Recorder Teachers Association . He led the Braun’s works list includes , chorus, contemporary recorder movement in Germany for decades and chamber music, as well as his many recorder pieces . as a player, pedagogue, composer, writer and editor . Readily available are such works as Meditation 5 for tenor Competition contestants were first required to submit recorder, Sulamith (Episode 5) for three alto recorders, recordings including the required set piece, Drei Epigramme Monologe II for recorder in F, and Monologe III for recorder (Three ) for solo , a composition by in C .The Darmstadt competition piece, Wegmarken Braun .Those players selected then performed in a second (reviewed in this issue), is published by Edition Gamma round held March 2 .The required piece for this part of the EGA160 . competition was Pete Rose’s Bass Burner for bass and alto In 1992 Pete Rose interviewed Braun in Karlsruhe, recorders plus gong (one player) . In addition, each contestant Germany .There is much wisdom in this brief interview, was required to choose and play another contemporary piece . which was published in the September 1993 American For the third and final round, contestants were to play Recorder . It is reprinted on the following page in tribute two pieces of their own choice, plus the required piece to this important figure in the recorder world . Weg­marken, Braun’s 2009 composition for SAT recorders See Rose playing Bass Burner (go to a link to his (one player) . video on the favorites list at www.youtube.com/ No age limit was imposed, and prize money was gener- americanrecordermag). Other videos are at ous: 5000 euros for first prize, 3000 for second, and 1000 for www.youtube.com/user/coolgrandmacarole. third .What a fine way to celebrate Braun’s 80th birthday! Composer and recorder virtuoso Pete Rose has had a long and rewarding musical relationship with Gerhard Braun . In fact Rose has composed several commissioned works for Braun . I asked Pete to send me some thoughts, a tribute,and anecdotes about Gerhard Braun: “Back when I was searching for a way to develop my career, I sent a demo tape to many people all over the world including music publishers, composers and recorder players. Gerhard Braun was among those I sent the tape to and he responded by sending me an invitation to perform at his International Recorder in Karlsruhe, Germany. Since then, Gerhard has continued to help not only me, but also many others. www.AmericanRecorder.org March 2012 31 32 March 2012 American Recorder The Recorder in English Newspapers, 1730-1800

By David Lasocki finishing a history of the recorder for t is well known that the recorder had Yale University Press (and many other a golden era in England from the The author writes about unfinished writings and editions) 1670sI to about 1730 .The instrument woodwind instruments, their history, as well as to the practice of energy was popular among amateurs, inspiring repertory, and performance practices. healing. See his web site, a large number of tutors (method The third edition of his book www.instantharmony.net. books) . It was also played by many with Richard Griscom, professionals, who were primarily The Recorder: A Research and Meet the author at the ARS Festival, oboists, sometimes violinists, cellists, Information Guide, was published where he will also offer a session on or even trumpeters (John Banister II, by Routledge in 2012. what we’ve learned in the past 20 years Francesco Barsanti, John Baston, about the history of the recorder, and have Johann Ernst Galliard, John Granom, He retired in 2011 from his position as a vendor’s table exhibiting his Jean Christian Kytch, John Loeillet, Head of Reference Services in the Cook company, Instant Harmony, which Luis Mercy, James Paisible, Giuseppe Music Library at Indiana University publishes e-books and e-editions. Sammartini, etc ). .These musicians and is now devoting himself to worked primarily at the Court, the opera houses, and the public theaters . Large quantities of chamber music for the alto recorder and for the alto, fifth flute (soprano), or sixth flute (soprano in D) were published by profes- sional performers as well as such composers resident in London as William Babell, Giuseppe Bonon- cini, Francis Dieupart, , and Robert Woodcock . Henry Purcell, Handel and others scored for the recorder in opera arias . Large quantities of high-quality recorders were made by leading makers such as Peter Bressan and the Stanesbys .

What’s in a Name? From its origins in the 14th century, the recorder was clearly distinguished in name from the (“flute”) . Complications in terminology set in when the newly remodeled Baroque style of recorder—made in three pieces, with elaborate turnery at the joints—was introduced from France in 1673 .The instrument then took on the French name flute douce, soon abbreviated to simply flute . References to “flute” between the 1670s and at least the 1740s, therefore, almost always mean the recorder rather than the transverse flute . The switch in terminology was possible only because the Renais­sance style of transverse flute was almost obsolete in England in the 1670s .When the Baroque style of transverse flute was imported from France around 1700, it was given a new name, “German flute,” a translation of flûte allemand or flûte d’Allemagne . As the flute grew in popularity, the recorder began to be given the contrasting names “common flute” around 1722, and “English flute” around 1735 .

www.AmericanRecorder.orgwww.AmericanRecorder.org March 20122012 3333 Many modern writers Makers Recorders by the celebrated French emigré Peter Bressan (1663-1731) have gained the impression are cited in advertisements and auction catalogs after his death . that the recorder died An auction of the belongings of “a noble Peer, lately deceas’d” included out in England after “a complete Case of Flutes, made by the late famous Mr . Bres­san” (Daily Journal, May 17, 1732) .The surviving about 1730, only to be case described by William Waterhouse in 1993 contained a pair of alto record- revived magically by ers by Bressan .The adjective “complete” before the case advertised here suggests in a larger selection of recorders . That larger cases existed is Edgar Hunt’s book The Recorder demonstrated by the following instru- and its Music (1962) set out most of the early 20th century. ments in the auction catalog for the what we have known up until now combined possessions of a Colonel repeated in his The Elements of about the recorder in England from John Moore and the famous archi- Musick (1767), although “Consort- about 1730 to the end of the 18th tect Nicholas Hawks­moor in 1740: Flute” is replaced by “Con­cert Flute,” century .The instrument was the sub- “1 . A Case with five Fluits by Bresan / “Sorts” by “Sizes,” and the section ject of a number of tutors, or method 2 . A ditto with a German Fluit, heading “Of the Flute” confusingly by books, over the course of this period, Houtboy and twelve other Fluits, “Of the Common Flute, or Flagelet ”. all intended for amateurs: Directions and a pitch Pipe by Bresan . . (The French flageolet in exclusive use for Playing on the Flute (1730), 10 . A curious fluit Cane by Bresan ”. until the late 18th century was a duct The Second Book of the Flute Master A “fluit cane” was a walking stick flute with four finger holes above and Improv’d (c 1730),. The Compleat Tutor in which a recorder was incorporated . two thumbholes below ). for ye Flute (c 1734,. c 1760),. Thomas It doubtless came in handy for a gen- Nevertheless, many modern Stanesby Jr ’s. A New System of the Flute tleman out on a stroll who wished to writers have gained the impression a’bec or Common English Flute (c 1735),. stop and play a few tunes . It first that the recorder died out in England The Compleat Tutor for the Flute appears in 1691 in advertisements after about 1730, only to be revived (c 1745,. c 1746,. 1754, c 1760,. c 1765),. by two different Amsterdam work- magically by Arnold Dolmetsch in The Complete Flute Master (1745, shops, Michiel Parent and Jan van the early 20th century .The present c 1755,. c 1760),. The Muses Delight Heerde’s widow and sons .The probate article makes a contribution towards (1754), The Compleat Tutor for the inventory of the celebrated French dispelling this myth with advertise- Common Flute (c 1765),. Compleat recorder player James Paisible (1721), ments taken from 18th-century Instructions for the Common Flute resident in London from 1673 English newspapers, supplemented (c 1780),. and New and Compleat onwards, included “an old cane flute”; by a few from Dublin and . Instructions for the Common Flute the inventory was taken by his execu- Although these newspapers have (c 1794). . tor, Bressan, who had presumably been examined piecemeal by scholars William Tans’ur’s A New Musical made the instrument himself .There before, they can now be searched virtu- Grammar (1746) suggested that other are further references in The Nether­ ally in totality in a facsimile database sizes of recorder than the alto contin- lands and France, the last clear exam- (17th–18th Century Burney Collection ued in use: “Of Flutes there are many ple, “Een Wandelstok zynde een fluyt Newspapers, published on subscription Sorts, as a Consort-Flute; a Third- Doux,” being auctioned in The by Gale) . I have supplemented the Flute; a Fifth, and a Sixth, and Hague as late as 1784 . advertisements with other sources, -Flute . .” . (alto, alto in A, The probate inventory of the such as a catalog of instruments in soprano, soprano in D, and sopra- celebrated Amsterdam music pub­- Dutch auctions . nino) . Almost the same text was

34 March 2012 American Recorder By this time the term “flute” was shifting towards its modern meaning of transverse flute— but again, it still Bressan alto, with inset showing maker’s means recorder here. mark (photos by Jan Bouterse). lisher Michel Charles Le Cène found as early as the James Talbot • 1743: “Just imported . . (d . 1743) included: manuscript (compiled 1692-95), had Schuchart’s best German Flutes, • No . 1 Two black recorders with by this time metamorphosed into its and common Flutes of all Sizes” ivory by Bressan . . near homophone “concert flute ”. • January 17, 1744: “Schuchart’s • No . 2 A brown ditto by Bressan . . The auction catalog of the pos- choicest German and common • No . 3 A black “sang fluyt” with sessions of the late Nicolas Selhof, Flutes, of all sizes” ivory by Bressan . . bookseller, in The Hague in 1759 • April 29, 1746: “ Schuchart’s • No . 4 A brown altfluit (tenor lists, alongside many Dutch instru- German and Common Flutes recorder?) by Bressan . . ments: “131 . Une Flute douce longue of all Sizes” • No . 5 A brown fourth flute de Basse (a long bass recorder) by • November 14, 1747: “Schukhart’s by Bressan . . . P . I . Bressan . . . / 145 .Two recorders German and Common Flutes • No . 9 A brown basfluit (basset by Bressan ”. The “long” bass recorder of all sizes” recorder) by Bressan . . . may well have been a true bass in C, • April 1, 1749: “Shuckart’s Flutes Like many London music pub- not what we now call a basset in F . of all sizes” lishers, including John Walsh, Le Cène Talbot, who included measurements • May 21, 1754: “Shuchard’s evidently had a sideline selling instru- for tenor and basset recorders by German Flutes, Hautboys, ments .The Dutch term sang fluyt, Bressan in his manuscript, called and small Flutes of all sizes” placed in quotation marks, is a direct the basset bass and the bass pedal These are the earliest advertise- translation of the English term or great bass . ments I have found that include the “,” an alto recorder in D . Finally, more than 40 years after phrase “of all sizes” in reference to An auction in London in 1743 Bressan’s death, “a Set of Basan’s Flutes” recorders or flutes .The next in chrono- included “a fine Set of Flutes, by was auctioned in 1774 (Daily Adver­ logical order is one from 1754 by tiser, April 6) . By this time the term Stanesby’s sole apprentice, Caleb Brassan . .” . (Daily Advertiser, Gedney December 22, 1743) . Although the “flute” was shifting towards its modern (bap . 1726; d . 1769), which term “flute” was beginning to be meaning of transverse flute—but again, mentions “Travers or German Flutes ambiguous, it clearly still referred to the it still means recorder here . of all Sizes, English Flutes ditto” recorder here . Another auction, of the In Dublin, William Manwaring, (London , November 21) . goods of a silk-dyer named William music publisher, instrument seller The advertisements bring to light Strong, included “two fine Concert and violinist, advertised that he had a previously unknown woodwind the following in stock, probably all maker, apparently an important one . Flutes by Bressan” (Daily Advertiser, John Just Schuchart George Brown April 1, 1745) .We see that the term made by (fl . (fl . 1716-66) is first “consort flute” for the alto recorder, 1720; d . 1759): documented in a Dublin newspaper of 1747 . Although he still listed “common www.AmericanRecorder.org March 2012 35 Flutes,” his specialities were transverse January 26) . He was in the midst Another advertisement flutes, a detachable for of another dispute: this time with focusing the tone of these instruments, Brown and the Irish maker Henry provides evidence and cane transverse flutes . By 1753, he Colquhoun (d . 1791) over who had had moved to London . From there invented the detachable mouthpiece that recorders by he occasionally made forays to Oxford, for the transverse flute as well as the where in 1754 he advertised that he “bass” (more likely alto or tenor) flute . the famous “MAKES all Sorts of Wind Musical Colquhoun, who also claimed to be fife Instruments in the greatest Perfection, maker to the Guards, said he “makes Thomas Stanesby Jr. true and pleasant toned . . . Hautboys, and sells all Kinds of Wind Instru­ , Clar[i]nets and Common ments, as Bas­soons, Hautboys, German (bap. 1692; d. 1754) Flutes . . especially a good Concert and Com­mon Flutes, &c . &c . for Common Flute which is the Founda­ Exportation or Home Con­sumption” were still in use as tion of all Instruments” (Jackson’s Oxford (Gazetteer and New Daily Advertiser, Journal, November 30) . A “concert February 20, 1765) . common flute” was presumably a Another advertisement provides late as 1770. high-quality alto recorder . Brown’s evidence that recorders by the famous idea about the recorder’s fundamental Thomas Stanesby Jr. (bap . 1692; nature appears to be unique for the d . 1754) were still in use as late as 18th century, but it became common- 1770: “To the Pawnbrokers, Music- place among music educators of the sellers, &c . STOLEN from a House 20th century and remains so today . at Islington the following Articles . . Alas, these educators have not been as several common Flutes tipped with concerned about quality as Brown was . Ivory, by Stanesby, jun” (Public Adver- In 1766, Brown made a surprising tiser, June 26) . announcement that completely changes At the Old Bailey, London’s cen- any ideas we may have had about his tral criminal court, on April 21, 1784, origins: he “has been esteemed by great a flute maker named William Bailey Judges to be a complete Master of his accused a young shoemaker and a boy Trade, having practised that Art in of stealing “one flute, called an English Germany (his native Country) and flute, value 4 s ,. and two fifes, value 1 s ”. in England, for near 50 Years past” from his house . (There were 20 shil- (Daily Advertiser, January 1) . lings, s ,. to the pound, £ or l; and 12 John Mason (fl . 1754-78) has pre- pence, d, to the shilling ). A witness viously been known only as the maker said he saw “the lads” go to an iron- who advertised in 1756 that he had monger’s shop to sell them, “and they invented the C-foot for the transverse played on them to try them ”. The lads flute, a claim that was refuted by both were convicted of burglary, but not Gedney and Charles Schuchart (John breaking and entering, and each sen- Just’s son) .The newspapers reveal more tenced to transportation for seven about Mason’s career . In 1765 he adver- years—a typical harsh punishment at tised that he “assures the Public, he has the time . been Fife-maker to his Majesty’s three An undated trade card of Thomas Regiments of Guards these 18 Years . . . Cahusac Sr. (1714-1798) offers He makes the most curious German “Common Flutes of all Sizes ”. Around and Common Flutes, Fifes, Hautboys, 1787, his young son Thomas Cahusac , Bassoons, Vox Humanes, Jr. (b . 1756) set up a workshop in &c . his Work being well known, and Reading, Berkshire, about 40 miles Alto by Thomas Stanesby Jr. used through all Parts of his Majesty’s west of London . He advertised that he (photo by Jan Bouterse). Domin­ions Abroad and at Home” “Manufactures and sells every article in (Gazetteer and New Daily Advertiser, the musical line as cheap as in London;

36 March 2012 American Recorder A trial in the courtroom of the Old Bailey, late 1700s.

and all instruments bought of him, if 1 Silver ditto / Ditto, 1 Brass ditto / not approved of may be exchanged A Plain Flute / Ditto, 2d ditto / Ditto, after one week’s trial . German Flutes 3d ditto / Ditto, 4th ditto / Ditto, 5th from 7s 6d to 6l 6s . . . Common Flutes ditto / Ditto, 6th ditto / Ditto, Octave / 2s 6d to 6s each . Fifes from 1s to 7s Ditto, English Concert Flute / Ditto, each . .” . This advertisement is useful in 2d ditto / Ditto, 3d ditto / Ditto, 4th showing us the relative price of trans- ditto / Ditto, 5th ditto / Ditto, 6th ditto verse flutes, recorders, and fifes . A year / Ditto, Octave ditto . . A Flagelet / later, Cahusac advertised “Common A French Flagelet . .” . Flutes and Fifes of all sizes . .” . The “dittos,” employed to save Hoyle’s dictionary of 1770 claims: typesetting costs, are difficult to under- “Now we have in use the concert, the stand at first sight . But these entries second, third, fourth, fifth, and eighth show that Astor was selling transverse flutes ”. Further light is shed on the flutes with between one key and six term “all sizes” of recorder by two cata- keys; “plain” flutes pitched at the stan- logs of makers and dealers from the dard pitch level, and also such flutes end of the 18th century . George Astor a second, third, fourth, fifth, sixth and (1752-1813) arrived in London from octave higher; as well as recorders at Germany by 1778 and established the normal level, presumably alto, as himself as a flute maker . By the mid- well as a second, third, fourth, fifth, 1790s he had vastly expanded his busi- sixth and octave higher . ness to manufacturing, making and These higher instruments may be selling instruments of all kinds, but surprising to us, but “Common Flutes, especially wind and keyboard instru- from a Concert to an Octave” (from ments . His range of goods is illustrated an alto up to a sopranino) had already by his detailed catalog dated 1799, in been mentioned in an American adver- which the following entries are relevant tisement of 1762 (Pennsylvania Gazette, for our purposes: “A Flute, tipp’d with March 25); and flutes and recorders Ivory, 6 silver Keys, and extra Joints / a second, third, and fourth above the Ditto, 5 silver Keys / Ditto, 4 ditto / standard instrument 15 years later: Ditto, 6 Brass ditto, and extra Joints / “ . . lately imported, and to be sold by Ditto, 5 ditto / Ditto, 4 ditto / Ditto, J . Rivington . . . English, or common

www.AmericanRecorder.org March 2012 37 Goulding, Phipps, & D’Almaine catalog of 1800, with the page listing German and English flutes.

Concert Flutes, / English, second Concert Flutes, / English, Sellers and Auctions third Concert Flutes, / English, fourth Concert Flutes . .” . Besides the auctions mentioned above, a number of other (New-York Loyal Gazette, November 22, 1777) . London auctioneers and dealers advertised recorders until The catalog dated 1800 of another London firm, the end of the 18th century . At an auction at a coffee house Goulding, Phipps, & D’Almaine, lists similar instruments in 1731, “There are also fine German and Concert Flutes . .” . to Astor’s: transverse flutes with one key to six keys; trans- (Daily Journal, February 20) . In 1745, “the entire Collection verse flutes a second, third, fourth, fifth, sixth, even seventh, of an eminent Virtuoso, deceas’d” being auctioned included and octave higher than normal; and “English Flutes, “several German and English flutes”—the first time the Concerts, plain / Do . do . Seconds and Thirds / Do . do . plain term “English flute” is documented for the recorder Fifths, Sixths, and ”. in England (Daily Adver­tiser, February 26) . (The word “vir- Astor’s catalog distinguished tersely between “A Flagelet tuoso” here is used in an alternative sense of a person inter- / A French Flagelet,” presumably the new English flageolet ested in the arts and sciences, or just in the fine arts ). and its longstanding French counterpart . Goulding’s catalog The general merchant John Carlile in Glasgow sold calls both instruments by name .The idea of the English “Wholesale or Retail . . German and common Flutes of type was simple: a recorder (“English flute”) was fitted with all Kinds” in 1755 (Glasgow Courant, September 22) . a sponge chamber similar to that of the French flageolet The London dealer Maurice Philips Whitaker and given a new name to make it sound stylish .This ploy (fl . 1760-82) placed an ad in 1760 that may have been worked: the flageolet gained a new lease of life and became intended to announce the opening of his shop . He the duct flute of choice for the entire 19th century . announced that he “MAKES and sells all Sorts of Musical

38 March 2012 American Recorder Instruments, viz ., Tenors, “flutes for birds” are now “of all sorts In 1745, “the entire Basses, Bassoons, German and Com­ and sizes” (New Daily Advertiser, June Collection of an eminent mon Flutes, Harpsi­chords, Spinnets, 13) .The tradition of using duct flutes and Hand Organs, &c . &c ”. (Public to train birds to sing tunes goes back to Virtuoso, deceas’d” being Advertiser, March 11, 1760) . Auctioned at least 1717, when The Bird Fancyer’s the following year, the goods of the late Delight was published, devoted to a auctioned included organist William Popely of Bishop’s small flageolet .Thorow­good’s adver- Stortford, Hertfordshire, included “sev- tisements suggest that both recorders “several German and eral German and common Flutes . .” . and flageolets of different sizes were English flutes”­­—the (General Evening Post, November 28) . used for this purpose . Another London dealer, Henry The Leicester performer, com- first time the plain Thorowgood, advertised in 1764 that poser, promoter and dealer John Valen­ he “makes and sells, Wholesale and tine (bap . 1730; d . 1791) was the great term “English flute” Retail . . all sorts and sizes of English nephew of the famous woodwind and German Flutes, Flutes for Birds, musician and composer Robert Valen­ is documented for the Flagelets for ditto” (New Daily Adver­ tine, who settled in Rome . In 1769 recorder in England. tiser, October 29) .Virtually the same John’s shop sold “all kind of musical list appeared in 1770, except that the instruments as cheap as in London, as . . German flutes, common flutes, & Two pages from a facsimile of The Bird Fancyer’s Delight. fifes, plain or tipt with silver, ivory or brass . .” . Mr . Cole, a mathematical instrument maker in London, was selling “two large common Flutes, at reasonable Prices” in 1774 (Daily Advertiser, August 26) . An advertisement by the music dealers Longman and Broderip dating from around 1775 mentions “German Flutes, Ivory, Ebony, Cocoa & Box, tip’d or plain . . English Flutes ditto all Sizes, Bird Flutes ditto . . made by the most eminent Makers in London ”. The auction of the “valuable effects of A NOBLEMAN” in 1784 listed “English and German Flutes” ( and Daily Advertiser, January 2) . And finally, the going-out-of- business sale of a bookseller and stationer in Cheltenham, Gloucestershire, in 1796 included “German and English Flutes, in ivory, ebony, cocoa, and box wood, beautifully mounted with sil- ver, &c ”. (Star, November 18) .

www.AmericanRecorder.org March 2012 39 An advertisement of 1749 refers to “the new Academy in Windsor-Street, adjacent to Widegate Alley, without Bishopsgate [i.e., the section of the street Bishopsgate outside the walls of the City of London, see map] . . where Gentlemen are taught to play on the German or Common Flute, Violin, French-Horns, &c . Dancing and Fencing; an Assembly weekly, where those that are not Scholars are admitted on subscribing for a Month .The Expence is very moderate .Those that chuse to be taught at home, will be waited on by sending a Line” (Daily Advertiser, May 17) . Finally, in 1768, “The ACAD­EMY for DANCING and MUSIC, No . 8, Bolt-court, Fleet-street . MR . PATENCE, dancing and music-master, teaches ladies and gentlemen+ the , louvre [i.e., loure], county and dancing, in the most concise and expeditious mander [i.e., manner], and defies any French or English master to teach more polite or better; as likewise the organ, harpsichord, and violin, German flute or common flute, on very reasonable terms” Gazetteer and New Daily Adver­tiser, April 21) .

Players Besides the owners of recorders mentioned in connection with auctions above, the newspapers are almost silent about the identity of the amateurs who played the recorder after about 1730 . A gossip column of 1787 headed “Tonish Musicians” mentions that “Lord Cholmondeley, on the German Flute, is nearly as fine a player as Lord Abingdon— they were both scholars of [Carl] Weiss . On that simple instrument, the English flute, the Ladies say the Duke of Pedagogy Dorset has been a better performer than either” (Word and In addition to the wealth of tutors mentioned above, the Fashionable Advertizer, January 13) . John Frederick Sackville, music seller Robert Bremner announced in 1763 that he the third Duke of Dorset (1745-1799), then British ambas- had just published “A Scale for the Common Flute, calcu- sador to France, was noted more for playing cricket than lated to render that Instrument fit for performing any for music; and alas, the statement about his recorder playing Music, adapted for the German Flute or Hautboy” (Public is somewhat doubtful, because two days earlier another Adver­tiser, April 16) . In a sales catalog included with a tutor newspaper asserted that “His Grace’s instruments are he published around 1765, Bremner refers to “English flutes the violoncello and violin; he excel­led some years since in all sizes ”. In 1799 and 1800, the catalogs of both Astor and the first mentioned instrument . His present practice is Goulding still listed “Common Flute” among the “instruc- chiefly the violin” (London Chronicle, January 11, 1787) . tion books” they sold . Three advertisements mention recorder lessons: “To all Music LOVERS of MUSICK, THAT are willing to learn to play Publications of recorder sonatas and concertos died away on the Violin, German Flute, Common Flute, French , after about 1730 . It is well known that, when John Walsh Clarennet, or any other Instrument, may be taught by Mr . published Handel’s solo sonatas around 1732, he didn’t HART, sen . next Door to the Arms, Rotherhith-stairs, even put the recorder on the title page, only “a German on Monday, Tuesday, Wednes­day, Thursday, from Ten in the Flute, a Hoboy or Violin,” relegating the information Morning ’till Six at Night at 2s . 6d . the first Lesson, 1s . each about the recorder’s presence (“Flauto Solo”) to the foot Lesson after; and those Gen­tle­men that chuse to be taught of the first page of each of its four sonatas . at Home may be waited on at a very reasonable rate” Similarly, in what seems to have been Walsh’s last (General Advertiser, November 23, 1748) . advertised instrumental publication to mention the recorder, 40 March 2012 American Recorder Vocal music arranged Resource List for the recorder Maurice Byrne, “The Cahusacs and Hallet,” Galpin Society Journal 41 (1988): continued to 27-28 . be advertised for David Lasocki, “Lessons from Inventories and Sales of Flutes and Recorders, three more decades. 1650-1800,” in Flötenmusik in Geschichte und Aufführungspraxis von 1650 bis 1850: XXXIV. Wissenschaftliche Arbeitstagung Michaelstein, 5. bis 7. Mai Robert Valentine’s Op . 13 was billed as 2006, herausgegeben von Ute Omonsky und Boje E . Hans Schmuhl/ for “a German Flute or Common Stiftung Kloster Michaelstein; Michaelsteiner Konferenzberichte, Band 73 Flute” (, April 26, (Augsburg: Wißner-Verlag, 2009), 299-330 . 1735); indeed the sonatas fit both David Lasocki, “New Light on Eighteenth-Century English Woodwind instruments, but the title page men- Makers from Newspaper Advertisements,” Galpin Society Journal 63 tions only “German Flute ”. (2010): 73-142 . Perfor­mances of concertos contin- David Lasocki, “New Light on the Recorder and Flageolet in Colonial North ued to be advertised until 1738, when a America and the United States, 1700–1840, from Newspaper Advertise­ concert at Marylebone Gardens “by the ments,” Journal of the American Society 36 (2010): 5-80 . best Masters” included two concertos David Lasocki, “Woodwind Makers in the Turners Company of London, for the “little flute,” a small size of 1604-1750,” Galpin Society Journal 65 (2012); in process of publication . recorder (London Daily Post and Nikolaj Tarasov, “Blockflöten im 19 . Jahrhundert: Fiktion oder Wirklichkeit?” General Advertiser, July 10) . Concerto 22, no . 12 (December 2005- January 2006): 28-31 . Yet vocal music arranged for the Gerard Verloop, Het muziekinstrument op de boekenveiling, 1623-1775 recorder continued to be advertised for (privately printed, 2002) . three more decades . An early landmark William Waterhouse, “A Case of Flutes by Bressan,” Galpin Society Journal 46 was Walsh’s publication of “Twenty- (1993): 162-63 . four Opera’s by Mr . Handel; transpos’d • John Frederick Lampe’s Lyra 1769, about the time that advertise- for the Common Flute, in three Britannica, 1740-41 ments for teachers end . Volumes” (London Daily Post and • John Alcock’s Twelve English The term “all sizes” in adver- General Advertiser, November 26, Songs, “transpos’d for the Common tisements from 1743 to 1787 meant 1735) .The last time Walsh, publishing Flute in the most easy Keys,” 1743 record­ers from the alto up to the alone, seems to have advertised for • The Warbler, Elizabeth Hare, 1743 sopranino . In the 16th century, a the “common flute” is as one of the • Uni­versal Harmony, J . Robinson wide range of recorders had been avail- alternative instruments for a collec- & J . Newberry, 1744-48 able, from extended great bass through tion of songs called British Musical • The , Mrs . Cooper, 1746 great bass, bass, basset, tenor, alto, Miscellany, 6 volumes, 1734-37 . • Amaryllis, Mrs . Cooper, later John soprano and sopranino . During the But other publishers continued Tyther, James Lewer, 1746-66 course of the 17th century, especially this practice: The last such publication seems with the of the Baroque style • Calliope, engraved by Henry to have been an edition of Pepusch’s of recorder around 1670, the lowest Roberts, mostly published by The Beggar’s Opera, “transposed for sizes generally dropped out, leaving John Simpson, 1737-49 the Common Flute” (Thomas basset, tenor, alto, soprano and sopra- • British Melody, or Cole’s Musical Lowndes, 1769) . nino, along with a new size, the voice Magazine, “the Trans­position flute, around 1700 . necessary for the German Flute England didn’t turn During the 18th century, as (which is now a favourite Instru­ its back on the recorder the new evidence shows, even the ment) as well as for the Common basset and tenor were gradually dis- Flute, shall be accurately and We have seen how advertisements carded, as players concentrated on distinctly express’d” (London in English newspapers demonstrate the smaller sizes . Instruments a Evening Post, June 27, 1738) that, after 1730, the recorder continued second, third, fourth, fifth and sixth • Bickham’s Musical Enter­tainer, to be made by leading woodwind above the alto were presumably engraved by the celebrated etcher, makers and was sold by dealers and needed to transpose music written engraver, and caricaturist George at auctions through the end of the for other instruments and the voice Bickham Jr ,. 1738-40 18th century .The instrument had music published with it in mind until into the recorder’s range . www.AmericanRecorder.org March 2012 41 Book Reviews ______Newspaper ads give glimpse into recorders and real life

Reviewed by Gwyn Roberts You can’t make Caleb Gedney, announcing that he is taking over the business of the late A LISTING OF INVENTORIES, this stuff up! Thomas Stanesby Jr ,. to whom he had SALES, AND ADVERTISE- been apprenticed since 1741 . A three- MENTS RELATING TO brief items are completely different way argument-in-print ensues on the FLUTES, RECORD­ERS, AND from what one learns from a more next page: John Mason placed an ad FLAGEOLETS 1631–1800 AND formal narrative history book . Here, in the Daily Advertiser on August 30, ADVERTISE­MENTS RELATING we read about the openings and clos- 1756, claiming that he had invented a TO FLUTES, RECORDERS, AND ings of shops, the new and improved new method to extend the flute’s range FLAGEOLETS 1631-1800, comp. flutes offered for sale in a particular a note lower; Gedney responds on David Lasocki. Instant Harmony month by a specific maker, the flageo- September 6 with an ad disputing that (www.instantharmony.net), Blooming­ lets included in the estate of a recently- claim (“the same Thing was invented ton, IN [now Portland, OR], 2010 . deceased amateur, and of a seemingly by Stainsby, Jun . [sic] above twenty Downloadable PDF . 358 pp . $9 75. . endless stream of lost or stolen instru- years ago”); finally, Charles Schuchart’s This recent e-book by David ments (“LEFT in a Hackney-Coach ad, placed on September 10, says that Lasocki offers a unique window into last Sunday Night, a Flute, Box Wood, his father “has at his House in Angel- the history of flutes, recorders and tipped with Ivory, with a Silver Key . ”). . Court, Windmill-Street, the Pattern flageolets, and of the day-to-day lives There is also a goldmine of insight of one which he made above thirty of the people who made, owned and to be gleaned from the inventories of years ago,” which seems to settle that played them in the 17th and 18th cen- instruments owned by institutions, question . turies . As one would expect from this sometimes including details of which Beginning on page 171, Mason author, it is a scrupulously researched musician had possession of which shows up again, with an extensive and compiled volume . It consists of instruments . series of ads extolling the virtues of inventories of instruments owned by For the casual , paging his flutes above all others; life goes on . individuals and institutions, and of through this volume is a lot like rum- And on page 178, we find the notice advertisements, notices and other maging through the attic of a distant of Caleb Gedney’s death on May 9, mentions of those instruments that relative, where everyday items add flesh 1769, followed by the announcement appeared in print during the indicated and detail to our impressions of people on June 2 that his two daughters, years . Everything is neatly categorized we barely knew before . On page 168, Catherine and Ann Gedney will by country of origin and arranged we find a notice placed in the London take over their father’s business . chronologically . Evening Post on March 9, 1754, by You can’t make this stuff up! Lasocki wisely chose to issue this compendium as an e-book and SWEETHEART to include English translations of FLUTE CO. all foreign-language listings, which Baroque Flutes: our own makes it conveniently searchable and “Sweetheart” model Fifes, Flageolettes therefore infinitely more useful . “Irish” Flutes & Whistles. While this volume will be of valu- Send for brochure and/or able use to scholars who are searching antique flute list. for specific information, it will also 32 South Maple Street provide hours of fascinating perusal for Enfield, CT 06082 (860) 749-4494 anyone with an interest in these instru- [email protected] ments .The insights provided by these www.sweetheartflute.com

42 March 2012 American Recorder Music Reviews ______Baroque gems, sparkling Shape Notes, ______Mozart and motets to modern

BRIGHTEST & BEST: CAROL The lyricism of this liked these carols upon first hearing, TUNES FROM THE AMERICAN and enjoyed them more the second TRADITION, arr. Peter tune alone is worth time through .This is really great Seibert. PRB Productions the price of the book! material for chapter reading . Con­tempo­rary Consort Series 67 (www.prbmusic.com), 2009 . SATB . states the melody and moves on to BAROQUE RECORDER Sc 11 pp, 4 pts 5 pp ea . $16 . play repeated notes as drones .The ANTHOLOGY, ed./arr. Peter Peter Seibert is a well-known and carol fades out voice by voice and Bowman & Gudrun Heyens . respected name in both the recorder ends quietly in the bass . Schott ED13134 (Magnamusic), and the gamba worlds . He taught The second carol, “Hush, my 2009 . S, pf (guitar ad lib) + CD . recorder at the University of Washing­ babe,” is from Kentucky Shape-Note Sc 56 pp, pt 23 pp . $19 95. . ton School of Music from 1971-91 . tradition and is almost pentatonic . This is a nice-looking collection He is a prolific composer for profes- This is a lovely, very lyrical carol . of works for and sional and amateur ensembles . Seibert’s All four voices are nicely shaped .The by selected Baroque composers compositions have been heard around lyricism of this tune alone is worth including Bach, Telemann, Purcell, the world and draw on a broad musical the price of the book! Hotte­terre, Lully, Handel, Fischer and background . In addition to his period The third carol, “Babe of Beth­ others . A nice feature is that each piece instrument repertoire, Seibert has lehem,” is traditional, fully pentatonic, contains a brief paragraph giving musi- composed for choirs (Missa brevis, and livelier, being in 6/8 time . Con­ cal suggestions . Chord symbols allow 2002; , 2007) and for modern trapuntal sections contrast with sec- to join in . All explanatory text orchestra (Terpsichore Revisited, 2009) . tions of parallel first-inversion chords is in three languages—English, French In February, his Suite for String Orches­ while an independent bass line and German . tra was premiered by the Northwest takes over the melodic activity— The back of the book also Symphony Orchestra; in April, Brass a fauxbourdon with a bass line! includes an extra page of information Band Northwest will play his English The traditional fourth carol, on each of the dance forms used, as Suite on their Rule Britannia! concert . “Don’t you hear the lambs,” was per- well as information about the compos- The five carols included in haps our least favorite in the collec- ers . Most of the pieces are arranged this collection have their roots in the tion—and yet, we liked its mostly by Peter Bowman . Anglo-American folk and Shape-Note homophonic arrangement . Bowman suggests that users of music .The first carol, “Brightest and The final selection is a second, this book have two to three years of Best,” is from Shape-Note tradition . traditional version of “Brightest and playing experience .The editors made The harmony is based on perfect inter- Best ”. This version is flashier and great choices in selecting repertoire; vals and thus has a Medieval as well as involves more challenging runs in one of my favorites is a Lully a modern flavor . Some sections contain 16th notes in the top two parts . “” that is structured in five-bar melody accompanied by a fourth and Even lower intermediate players phrases and offers great opportunities an octave below—I’d call it , could probably learn these carols, but for young students to learn to play but there is an independent bass line as when advanced players play them, hemiolas .The piano accompaniments well . they really sparkle .The are are nice, not too heavy, and could be The middle section begins in the mildly contemporary and are surpris- played by more experienced students . bass line and sounds like it might ingly dense considering that there are Be aware that the English terms become fugal—all four voices take only four players .There is ample activ- for note names are used throughout; turns stating the melody, but there is ity in all of the parts without sounding hence a quarter note is a crotchet, no countersubject; instead, each voice unnecessarily busy . Our group really eighth notes and 16th notes are

www.AmericanRecorder.org March 2012 43 printed articulation . It is pointed out musical language .The well-known Van I like the first volume that some of the slurs are original; in Eyck “Nightingale” is also included . in the series, but I really one piece, a “Minuet and Trio” by The piano accompaniments are James Hook, the editors point out that quite nice; they are not too heavy, and love the second volume. the slurs are actually phrasing marks . they emphasize lots of rhythmic inde- Overall, this is a great collection pendence and preservation of the spirit quavers and semiquavers . On the of pieces to supplement method books of the originals .These accompani- humorous side, I learned that a maggot and to provide recital material . ments could be played by more is an “old English country dance from advanced piano students . the 16th-17th centuries” (as in “North’s BAROQUE RECORDER At one point, I read the statement: Maggot” by Roger North) . ANTHOLOGY 2, ed./arr. Peter “Add ornamentation to the repeats for Since this is an educational Bowman & Gudrun Heyens, variety ”. This is, of course, a great sug- Baroque anthology, I looked for some piano acc. Wolfgang gestion—but (as in Volume I), students mention that the trills should start Kostujak. Schott ED13135 will need to read elsewhere for sugges- from the note above the main note, (Magnamusic), 2010 . S, pf + CD . tions about how to ornament and for but did not find this anywhere in the Sc 80 pp, pt 27 pp . $19 95. . information about the differing styles text . However, the demonstration CD This second volume in the Baroque of ornamentation based on nationality (performed by Bowman) does present Recorder Anthology series contains 32 or time periods . the trills nicely . Often, repeated sec- works for soprano recorder and piano, However, for students who are tions are lightly and tastefully orna- and is organized similarly to Volume 1 . good at picking up ornamentation mented during the repetition . Com­posers include Telemann, Purcell, styles by ear, they need look no further Each of the 30 pieces is on the Delalande, Corelli and Carr, among than the brilliantly-played CD that CD twice, once as a full performance others . Bowman and Heyens suggest comes with the book, performed by and again as a music-minus-one track . that users of this book have three to Heyens . Often, repeated sections are Introductory taps are used to help stu- four years of playing experience . nicely, and sometimes adventurously, dents enter correctly . Interestingly, the As in Volume 1, each piece con- ornamented, providing a wonderful printed music calls for piano accompa- tains information about the pieces aural guide for students . Each of the niment, but the CD uses harpsichord . and performance suggestions (all 32 pieces is on the CD twice, once as a I also found that the explanatory explanatory texts are again printed in full performance and again as a music- text has more to say about how to start English, French and German) .The minus-one track . Introductory taps are notes than how to stop them . Finally, performance suggestions include used to help students enter correctly . I found the placement of some slurs articula­­tions (suggestions for paired As in Volume 1, the printed music to be somewhat odd for the intended articulations), moods, phrasing and calls for piano accompaniment, but the audience of this book . For example, many other musical concerns . CD uses harpsichord . rarely is the beginning player going to Students are made aware of when I like the first volume in the series, get a clean slur between the second- a note is an upbeat as opposed to the but I really love the second volume . octave notes D and F . A critical listen- final note of a phrase .The text points I hope to see many more of these ing to the CD revealed that Bowman out key and modal changes and vary- anthologies in the future, hopefully sometimes wisely strays from the ing phrase lengths . It is noted when a some for alto recorder and keyboard . piece was created with Renaissance EINE KLEINE NACHTMUSIK, KEY: rec=recorder; S’o=sopranino; principles of composition . S=soprano; A=alto; T=tenor; B=bass; Chord symbols are included, so by W. A. Mozart, arr. Jean gB=great bass; cB=contra bass; Tr=treble; that harmony instruments can join in . Cassignol. Noetzel Edition N4522, qrt=quartet; pf=piano; fwd= foreword; www.edition-peters.com opt=optional; perc=percussion; pp=pages; The back of the book also includes ( ), 2008 . sc=score; pt(s)=part(s); kbd=key­board; extra pages of information about each SATTB/SSTTB/SATBB/SSATB . bc=; hc=harp­sichord; of the dance forms as well as informa- Sc 28 pp, pts 9-11 pp . $24 . P&H=postage/handling . Multiple reviews by one reviewer are fol­lowed by that tion about the composers . Eine Kleine Nachtmusik on record- review­er’s name . Publi­ca­tions can be pur- I really enjoyed playing through ers? Well, why not? What a delightful chased from ARS Business Mem­bers, your local music store, or directly from this book for variety of styles, moods surprise it was to receive an arrange- some distributors . Please submit music and the superb selection of repertoire . ment of this piece for recorders! and books for review to: Sue Gros­kreutz, 1949 West Court St., Kankakee, IL 60901 U.S., My favorite is “The Lady Katherine There is certainly no need for me [email protected]. Audley’s Bells” by John Jenkins, an to review the work of Mozart, and I onomatopoeic piece that tells a story in am pleased to state that the arranger, 44 March 2012 American Recorder Jean Cassignol, has remained extremely transposition for this recorder arrange- true to the original . Whereas the origi- Eine kleine Nachtmusik ment, the trio section ends up in A nal composition was written for four on recorders? major .This will not be much of a prob- parts (two violins, viola and ’cello/bass), lem for any of the players other than to solve range problems, this arrange- Well, why not? the top soprano player—who is faced ment is expanded to five parts using with performing several very smooth various combinations of recorders . This version has been transposed: articulations between high F# and G# . As a violinist who has played the original keys for the four move- The fourth movement, “Rondo,” this work with many orchestras, I am ments are GCGG .The movements for composed in sonata-rondo form, is by aware of the high level of skill required this arranged version are in DGDD . far the most difficult . It is an allegro, by the string players to achieve that The first movement is scored for starting out with the well-known easy sounding lightness of Mozartian SATTB, but within this framework, rocket theme; most orchestras play perfection .This is difficult when there the alto player must switch back and this movement at a very swift tempo . is only one person on a part, and - forth between alto and soprano .This It is scored SSATB, but the alto nentially more difficult with a larger is an allegro composed in textbook player must switch between alto and chamber group . sonata-allegro form . At some point in tenor a couple of times, and the second This is equally (if not more) the movement, all players must play soprano player must switch to alto challenging on recorders . Picture two repeated notes in 16ths, necessitating and back . With so much instrument (sometimes three) recorders playing extremely accurate double-tonguing . switching in this score, the arranger has repeated 16th notes together in perfect Sometimes, three parts play these carefully placed the little octave desig- ensemble . String players experience a repeated notes simultaneously, an nations above the signs exactly fair amount of anxiety when Mozart ensemble nightmare! The trills, which where they belong . I also found some is on the program because they know come off so easily on the stringed very clever arranging in sharing the that every note is exposed, and that no instruments, involve some complex melodic line between the two soprano bad note will go unheard .The same recorder fingerings . parts . Sometimes, notes are placed in is true for recorderists; hence, your The second movement, a delicate parentheses if they are doubled in group is in for quite a challenge . romance, is an andante scored for another part and can be omitted .There SATBB with no need for any players is some passagework that is so easy to to switch instruments . Most of the play on violins, yet troublesome on melodic activity is in the top part .This recorders, such as rapid alternations piece is in ABACA form, with the C between low Eb and F on the tenor . section functioning much like a devel- This is mature Mozart, having opment . In this C section, the turns been composed in 1787 (Mozart died Lost in Time Press have been omitted from the melodic in 1791), and thus is Classicism at its motives that pass between the soprano height . Along with that comes slower New works and and bass instruments . Instead of the motion, and a bass line that arrangements full turn, only the main note alternat- functions as foundation for the har- for recorder ensemble ing with the upper neighbor-note is mony but does not get in on the action notated . I’m sure done because, of the melody very often . A couple of Compositions by to play the full turns, the F bass instru- very sturdy and patient bass players will Frances Blaker ments would be pushed below range . be necessary . Paul Ashford There may have been other solutions There are stylistic details that lis- Hendrik de Regt for this problem (perhaps finding teners have come to expect from this and others places to switch to C bass for one bass frequently-performed piece that are part and simplifying the F bass part) . easy for string players, but which pres- Inquiries: All other ornamentation from the orig- ent problems to recorder players— Corlu Collier inal score has been included; thus, the sforzandos, crescendos, and pas- PMB 309 C section of this romance loses a touch sages normally played with lilting 2226 N Coast Hwy of its character without those turns . bouncing-bows . A recorder ensemble Newport, Oregon 97365 The third movement, “Menuetto,” will have much work to do in redefin- www.lostintimepress.com is scored SSTTB with no parts switch- ing these stylistic details for recorders . [email protected] ing instruments .This is textbook min- This piece is particularly challeng- uet and trio form . Due to the necessary ing for the soprano I player; to main- www.AmericanRecorder.org March 2012 45 tain the original character, an attempt plicity of the Galant style, especially if Bläsersinfonie No. 6 returns to the must be made to preserve the effect of your group is entrenched in more com- key of C and opens with the usual the slurring and phrasing while avoid- plex rhythmic styles of Medieval, Ren­ Allegro . Next, the Andante is filled ing the “blips” that are so problematic aissance and Baroque . with melodic delights—duplets, trip- in complex recorder fingerings . The bass line in Galant style has the lets, quadruplets, and that so-Classical Cassignol has arranged several chief function of harmonic support; use of near the final other pieces for recorders, including all hence, we hear the tendency towards cadence . four of Vivaldi’s Seasons . He has also many repeated notes emphasizing the The third movement, Grazioso, is published a book of Mozart duets that progression from tonic to dominant probably my favorite of all the move- includes the “Romanze” from Eine and back (I-V-I) . In fact, the bass part ments in this publication; it is light- Kleine Nachtmusik . I hope he continues spends 17 measures repeating an hearted and interesting in all parts, to bring the great classics to recorders . eighth-note C (the tonic) and five including some 16th-note runs in the measures of eighth-notes on G (the bass line .The final movement is an BLÄSERSINFONIEN (Wind dominant) . Our bass player didn’t mind Allegretto featuring triplets in the Symphonies) NR. 4, 5, 6, by playing his part, as he could listen to lower two voices . , arr. such elegant melodies above his line . These pieces fall into the advanced Ulrich Herrmann. Noetzel Edi­ There are similar measures in the intermediate range; note-wise there tion N3936 (www.edition-peters.com), top alto part that require great finesse are passages here and there that will 2008 . ATB . Sc 27 pp, pts 11-15 pp . in articulation to avoid what could eas- require practice, but ensemble issues $24 . ily become dull repetition of notes . will be more time-consuming than Johann Christian Bach (1735-82) The second movement is a Largo; learning the individual parts . was the eleventh and youngest son of here, the bassist gets to participate Noetzel editions are high quality J S. . Bach . Sometimes referred to as the melodically as well as harmonically . publications, carefully edited and pub- London Bach or the English Bach, he Next comes a short March and a really lished on sturdy paper with good page is known for influencing the concerto cute Cotillion .These two final move- turns .The notes are only in style of the young Mozart . ments return the bass part to its prior German . His Galant style of composition is I-V harmonic support role . Sue Groskreutz has music degrees very evident in these works; they are Bläsersinfonie No. 5 is more com- from Illinois Wesleyan University and very melodic with balanced question- plex than No . 4, in both notes and the University of Illinois, plus Orff- and-answer phrases; have a heavy rhythm . First of all, it is in the key of F . Schulwerk certification from DePaul emphasis on melody and accompani- This presents interesting problems for University. Playing and teaching recorder ment; often trace the melody from the bass player who, in the first move- are the greatest musical loves of her life. below with parallel thirds or sixths; and ment, must play 10 measures of the For 10 years she was president of the use gentle syncopation in the middle tonic as repeated low-F eighth-notes . American Recorder Teachers’ Association. voice and occasionally in the melody . Many basses are not especially respon- Most important, Galant compos- sive on this note . Our bass player FOUR SHORT 16TH-CENTURY ers opposed the intricate complexities jumped up an octave just to get the MOTETS, by Byrd, Marenzio, of Baroque counterpoint . When Clas­ note to come out . Fortu­nately, doing Tallis, Tye, arr. Paul Clark. sical style matured, it combined the this does not change the chord voicing . Peacock Press Clark Collection 134 elegance of Galant ideas with renewed Every part gets occasional short (Magnamusic), n d. . SATB . 4 sc, interest in Baroque counterpoint . runs of 16th notes, but the alto part has 8 pp ea . $13 50. . These three delightful works extended runs of 16ths . Yet, it is not This collection includes “Sacer­ were originally composed for , difficult for those who have practiced dotes Domini” (Priests of the Lord) horn and bassoon and published by the scale . by William Byrd, “O Rex Gloriae” Friedrich Hofmeister Musikverlag The second movement is a per- (O King of Glory) by , (HF FH-2196). . Another Noetzel fectly delightful Andantino in rondo “Bone Pastor” (The Good Shepherd) offering, along the lines of Eine Kleine (ABACA) form . In the third move- by , and “Rorate Coeli” Nachtmusik, they make a great addition ment, a Menuetto and Trio, the Trio (Open Ye Heavens) by Christopher to the recorder repertory, in spite of the has a lovely section of sustained notes . Tye . difficulties discussed here . The final movement, Allegro assai, is Tallis and Byrd are familiar In C major, Bläsersinfonie No. 4 just plain fun—even the bass player has names to most recorder players, while opens with a first movement Allegro . scalework and melodic passages in Marenzio and Tye might be less One is immediately struck by the sim- 16ths . 46 March 2012 American Recorder known . Luca Marenzio (c 1553–99). There is a spelling error in the In 1585 he returned to Spain, was a singer and composer in the ser- tenor line, measure 14: the text at this where he served the Spanish court vice of the Gonzaga family of Mantua, point should read Tu nos bone, not Tu until just before his death . His work . He spent most of his professional mos bone, as a glance at the soprano and consists of 20 masses, 44 motets, and life in Rome, and wrote and alto texts in measures 17 and 15 music for the Holy Week services of villanellas as well as vocal compositions respectively shows . the Roman . for the church . The group with which I played The music reviewed here is an English composer Christopher these pieces found three of them SATB transcription of the first part Tye (1497-1572) received his training rather simple, with the Byrd of the “,” which at Cambridge . He was choirmaster at more interesting . means “Hail, star of the sea,” a refer- Ely Cathedral, and composed Latin ence to the Virgin Mary .The text, and English as well as KYRIE AND CHRISTE FROM which is included for all four voices, is secular works . MISSA “AVE MARIS STELLA,” “Kyrie eleison, Christe eleison, Kyrie Byrd was not only an extremely by Tomas Luis de Victoria, ed. eleison” (translated from the Greek as talented composer, but he had the good Paul Clark. Peacock Press Clark Lord have mercy, Christ have mercy, fortune to come along later than the Collection 131 (Magnamusic), 2005 . Lord have mercy) . other three composers reviewed here, SATB . Sc 3 pp, pts 1 p ea . $10 95. . This music should present no surviving until 1623 . Tomas Luis de Victoria (1548– challenges to intermediate players . It is These motets are appropriate for 1611) is probably the greatest com- meant to be sung or played at a moder- intermediate players .There are no poser of Spanish church music of the ate tempo, and there are no rhythmic rhythmic surprises, and tempi should . He may have studied stumbling blocks . Ensembles with be appropriate for vocal pieces . with Palestrina while in Rome, where access to great bass and contra bass The music in the Tallis motet he was ordained a priest in 1575 . His recorders may want to experiment with is probably an early version of the music, all of it for the church, has less the richer lower-pitched ensemble by English motet, “If Ye Love Me ”. serene polish (but more emotional playing the parts on tenor, bass, great intensity) than that of Palestrina . bass and contra bass .

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www.AmericanRecorder.org March 2012 47 MOTET: SALVE, REGINA, ZWEI MOTETTEN, by Tomas same high or a different low (A/T T/B by Francisco Guerrero, ed. Luis de Victoria, arr Daniel B/gB gB) grouping .This selection has Paul Clark. Peacock Press 126 Brüggen. Moeck Q4TT2828 been transposed up a , (Magnamusic), n d. . ATTB . (Magnamusic), 2008 . Rec qrt, var . from the original G major to C major . Sc 12 pp, pts 2 pp ea . $9 75. . combs . Sc 12 pp, 7 pts 2 pp ea . $35 . Zwei Motetten is a really nice addi- The is an This publication contains two tion to the recorder repertoire . As in all to the Virgin Mary that traditionally absolutely wonderful sacred vocal Moeck editions, it is printed on high- closes the monastic day in the Roman motets by Tomas Luis de Victoria quality heavy stock paper . Both motets Catholic Church .The Virgin is asked (1548–1611) . Both motets illustrate are notated in easy-to-read common to protect the nuns or monks until day- wonderful imitative counterpoint so time . break .This is one of four such anti- beloved from the high Renaissance . I do, however, have two concerns phons that date to the 13th century . The compositional style of Victoria is about this edition: there is no transla- Francisco Guerrero (1528-99) was often compared to Palestrina; Victoria tion of the text; and, more important, a Spanish composer who was a pupil is especially known for his expressive the original text is not included in the of Cristóbal de Morales, a famous word-painting in his choral settings . parts . Victoria is known for his ability Spanish composer of the first half of The first motet, “Ne Timeas to reflect the meaning of the texts in the 16th century . Guerrero worked at Maria” (Fear not, Maria), is a magnifi- the structure of the music, so I feel that Jaen Cathedral, and in 1574 became cat antiphon composed for the first this is indeed an unfortunate omission . the “maestro” at Seville Cathedral . Sunday in Advent .The complete Here is one example of why I am Guerrero not only was a prolific translation is: Fear not, Mary, for such a stickler for the texts in the parts . composer of sacred music, but he also you have found favor with the Lord: In “Ne Timeas Maria,” all of the voices composed secular songs and works for behold, you shall conceive and bring come together for a half-cadence at the (a Spanish guitar-like forth a son and he shall be called the the end of the section, on the text, “and instrument) . Son of the Most High . (I include this bring forth a son ”. This is followed by This music has an interesting translation here because the edition a two-beat rest in all parts .Then, the form: there are unison sections based does not ). music suddenly becomes homophonic on the plainchant and portions in four- Victoria treats the at the text, “And he shall be called ”. part harmony .This could lead to a as great cause for celebration; hence, After that, the announcement is made moving performance in various ways . he uses the bright key of C major . In as to who the child in Mary’s womb One possibility with only recorders the opening phrase, the top voice will be—“Son of the Most High” — is to have a solo instrument play the begins a series of rising fourths; this and, with this, the joyous seamless plainchant parts and the full ensemble rising fourth motive returns often counterpoint begins again, this time the harmonized verses . It would also throughout the motet, offering unity . emphasizing the rising fourths, fifths not be difficult to have a singer take This arrangement is set up so that and octaves and reaching the highest the plainchant parts and the recorder it can be performed on recorders in note in the piece on the phrase altis­- ensemble the harmonized parts . high register or low register: the instru- simi filius (“Son of the Most High”) . More complex possibilities can mentation for high is S S/A A/T T; the This music could be played by easily be envisioned . instrumentation for low is T T/B B/gB intermediate players (preferably on The ensemble with which I gB . All the parts are provided for both Renaissance instruments) . But can played this music enjoyed the contrast high and low choirs (seven parts total) . players fully appreciate the music between the simple and austere plain- The second motet, “Pueri Hebrae­ separated from a basic knowledge parts and the rich harmonies in orum,” was composed for . of the text? Those who have studied the harmonized parts . We recommend The translation reads: The Hebrew Renaissance rhythms extensively might this music highly; it can be performed children spread their garments in the be able to intuit the phrasing—but, in by intermediate recorder players . path, and cried out, saying: to this reviewer’s opinion, a thorough Michael Emptage has played the the Son of God: blessed is He that understanding and appreciation of the recorder with his wife Cathy for many cometh in the name of the Lord . music requires an awareness of the text years. He has studied with Patricia Peter­ It is more homophonic than the on which the music was composed . sen and Linda Lunbeck. He has also stud- first motet, but still has glorious sec- Fortunately, the text is included in ied piano and organ, and presently owns a tions of Ren­aissance polyphony . the score; thus, I spent hours writing harpsichord, which he studies with Debra This motet also comes with seven the text into the parts because I felt Throgmorton. Michael and Cathy are parts so that it can be performed in the that this was necessary for retired and live in Loveland, CO. 48 March 2012 American Recorder phrasing and for concepts as simple as Lasso (1532-94) was born There are stories, probably not breathing in the middle of a sylla- in Mons, in what is now Belgium . ble of a word that might be spread out Around the age of 12, the young apocryphal, about Lasso into a melismatic passage of several Lasso entered the service of the measures . Fortunately, with time and Gonzaga family in Mantua, with having been kidnapped effort, these are both solvable problems . whom he traveled to , Palermo I cannot stress enough how won- and .There are stories, probably for the beauty of his voice derful it is to have these two motets in apocryphal, about Lasso having been the recorder repertoire, and I applaud kidnapped for the beauty of his voice no less than three times. the Amsterdam Loeki Stardust no less than three times before his Quartet for adapting this music voice finally broke . featured Lasso’s characteristic expertise to the recorder . When he was 21, Lasso visited at setting text to music . Sue Groskreutz Rome as the guest of the influential The success of his initial books archbishop of and won the is borne out in the fact that he was MOTETS FOR 4 VOICES, position of maestro di cappella at invited on the strength of them to by Orlando di Lasso, ed. St . John Lateran . By 1555 he had enter the service of the German Duke Charles Nagel, Cheap Trills TR64 journeyed to Antwerp to oversee Albrecht V at the Munich court, a (Magnamusic), 2008 . ATTB . Sc 12 pp, the first publication of his works . position he would hold for the rest pts 4 pp . $8 50. . His compositional style shows a of his life . Orlando di Lasso (also known keen intellect and familiarity with all An influential teacher as well as a as Orlande di Lassus and Roland di the current musical trends throughout composer, Lasso’s many pupils included Lassus) was one of the true masters Europe . His initial publications, for Andrea and , both of of Renaissance music . He wrote flu- example, included Latin motets, whom show an indebtedness to their ently in nearly every idiom, producing French chansons, Italian madrigals, teacher in their subtle handling of an estimated 2000 works over his life- and bawdy villanellas in the popular wordplay and the expert melding time, many of which are masterpieces . style of Naples . All these pieces of lyrics to music .

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www.AmericanRecorder.org March 2012 49 Lasso is known to have traveled There is a famous painting theme in F minor, whose scalar inflec- widely in search of singers and instru- tions lend a Semitic flavor .These apart, mentalists . Although he is not known of Lasso at the harpsichord it is vaguely reminiscent of the famous to have written any purely instrumental Nicolò Paganini theme that Sergei pieces, he was not unfamiliar with surrounded by a mélange of Rachmaninov, Johannes Brahms and instrumental music .There is a famous others set . Zadik’s tune is rather static; painting of Lasso at the harpsichord singers and instrumentalists. over one-third of the notes are F and surrounded by a mélange of singers C, primarily juxtaposed and producing and instrumentalists, including lutes, possible only for the top part . Due to a seesaw effect .The edition does not viols, violins, recorders, , sack- Lasso’s expert writing, often the mention the tune’s source . buts and even a rackett . phrases are clear and self-explanatory, Zadik presents five variations with Although Lasso stayed in the but occasionally in the tenor and bass a short bridge between the third and employ of the Munich court for the lines, the phrases are not at all obvious . fourth, and concludes with another rest of his life, his music changed While of the very highest quality, terse flourish .The first variation is a noticeably when Albrecht died in these motets are simple enough to be restatement of the theme an octave 1579 . Some writers have pointed out played by beginning to intermediate higher, accompanied by subdivisions in that Lasso became preoccupied with ensembles—and yet they have a rich- the right hand of the piano .The theme religious music, composing his ness that rewards repeated visits . As moves to the piano in the second varia- Penitential in a severe style noted above, the recommended ensem- tion, while the recorder provides chro- reminiscent of Cristóbal de Morales ble is ATTB, which is consistent with matic filigree .The third variation is or Giovanni Palestrina .This stylistic the practice of the time, but the top evocative of the melismatic style of change may have been due to Lasso’s line might be played by a soprano the chazan (cantor), where despite response to the Counter- . recorder . If so, the recorder should be the una corda (soft pedal) indication, There is also speculation that Renaissance-style, with a strong low the bass recorder cannot compete Lasso may have suffered from a clinical register, and the player needs to be with the piano’s tremolos . depression in his later years . Contem­ confident enough to half-hole low The contiguous fourth and fifth po­rary accounts refer to Lasso’s “mel- C# . All told, staying with the recom- variations form a fugato section . Here ancholia” and further state that he was mended ATTB gives the best balance . the composer leaves duple meter for obsessed with thoughts of death . Even Lasso is an undeservedly neglected 6/8 . Only briefly does he venture from so, he continued to work and was pre- composer . I hope that this excellent F minor . In the fifth variation, the paring a publication of what would edition, with its easy page turns, will theme appears in augmentation in prove to be his last works, the Lagrime cause more ensembles to seek out the parallel key of F major . di S. Pietro, when he died . this wonderful music . The typesetting is so fraught with The present edition contains six of Frank Cone is a multi-instrumen- collisions and misalignments that one Lasso’s motets arranged for a recorder talist who lives, works and plays in wonders if substantive errors might be consort or a viol consort .The motets in California. present as well . provides no this edition are “Jubilate Deo,” “Super THEME AND VARIATIONS FOR notes or biographical information in Flumina Baby­lonis,” “Scio Enim Quod BASS RECORDER AND PIANO the edition or on its web site . Redemptor,” “Exalabo te Domine,” by Tom Zadik Zadik has issued two other pieces “Miserere me, Domine” and “Domine, . Orpheus Music with Orpheus, both trios . His Theme Exaudi Ora­tionem Meum ”. Clearly OMP220, 2010 . B, pf . Sc 6 pp, and Variations is designated “grade six” this is vocal music, but as noted above, pt 4 pp . Abt . $15 40. . (of eight) .The accompaniment requires we recorder players should not hesitate Always on the alert for the rare a pianist of moderate ability . In some to play this music, since Lasso himself opportunity to play a bass solo, I was respects, the piece might be easier to mixed voices and instruments . excited to discover this new piece . play in G minor, although this could This publication is a “bare bones” The bass’s dark timbre is consis- compromise the melancholy mood of edition .There is no indication of the tent with the somber theme . Despite a the lower key . source of these pieces, nor of editorial predominantly lean accompaniment, I Those interested in other music practice .The editor has provided text found the piece more satisfactory on for bass recorder and piano might underlay only in the cantus line .Text the alto, where the recorder can be bet- investigate Hans–Martin Linde’s underlayment is essential for accurate ter heard . Musica Notturna . and idiomatic phrasing and here it is After a brief opening flourish from Anthony St. Pierre lives in Toronto the piano, the composer offers a binary and has composed extensively for recorders. 50 March 2012 American Recorder His à 4 earned third prize in the Works by Gerhard Braun, 2007 Chicago ARS Chapter’s compo- published by Edition Gamma, “Thank you for sition competi­tion and may be heard at: www.editiongamma.de playing the flute.” www..nl. Several of his recorder compositions are available for free at BASSO BIZZARO http://pages.ca.inter.net/~abelc/ . EGA153, 2009 . Numa is a work for large recorder compositions.html S’o cB . Sc 4 pp . Abt . $6 . orchestra . It involves both tradition- . He holds a B.Mus. PRISMEN (Prisms for ally metered music, aleatoric sections, in composition from Ohio State Univer­ Recorder Quartet). and several sections of speaking sity and M.Mus. in his­tor­ical per­formance EGA131, 2008 . AATB . Sc 16 pp . (phrases are intoned in English, practices from Wash­ington Uni­ver­sity. 1 sc, abt . $16; 4 scs, abt . $41 . Span­ish, Italian and German— NUMA. AMERIKANISCHE FOLK- EGA156, 2009 . 4A 4T phrases such as “Thank you for play- LORE by Czeslaw Kroczek. 4B 2gB 2cB . Sc 28 pp . Sc abt . $41 . ing the flute ”. / “Could you recom- , All pts abt . $22 . Separate parts mend a nice pub?” / “Where can I Heinrichs­hofen N2584 www.edition-peters.com abt . $5 79. ea . find a department store?”) . ( ), 2006 . KLANGLANDSCHAFTEN MIT Klanglandschaften mit Wind­­ S, violin, guitar (ad lib. , WINDMASCHINEN (Klang­ maschinen (Soundscape with Wind perc ). . Sc 29 pp, pts 10 pp ea . $28 . land­schaften for big Machines) is scored for large recorder Polish composer Czeslaw Kroczek recorder ensemble and ensemble with percussionist . Its has previously produced two volumes percussion). EGA102, 2008 . musical material is similar to of Irish Folklore for the same combina- 2A 4T 4B 2gB 2sB 2cB, perc . Numa (sans speaking) . tion . He has now composed a volume Sc 31 pp . Conductor’s sc abt . $33 . Adventurous performers and of American Folklore, in which the four Pocket sc abt . $22 . Sc + all pts abt . ensembles may well enjoy these brief movements are fantasias on tradi- $165 . Separate pts abt . $10 ea . works, though some of the same ideas tional American vernacular tunes . German composer Gerhard have been attempted with greater suc- The first movement, “Negro Braun (b . 1932) has taught recorder cess by other composers .The most Spirituals Medley,” is a free fantasia and flute for many years at various useful of these pieces is undoubtedly on “Didn’t My Lord,” “I Want to Be academic institutions . He has writ- Basso Bizarro, for the occasion when Ready” and “Swing Low ”. The second ten primarily pieces involving one wants to put something com- movement, “Joe Turner’s Blues,” is recorder or flute . pletely unexpected on a recital . based on a traditional blues tune . All of the four pieces reviewed Carson Cooman The third movement, “Bluegrass,” here are not astoundingly virtuosic explores the evolutionary collections in their technical demands, but all WEGMARKEN . EGA160, 2009 . of American bluegrass from Scottish involve a great deal of contemporary S/A/T (one player) . Pt 8 pp . Abt . $16 . and Irish folk-fiddling .The final notation and extended techniques . Gerhard Braun is one of the movement, “Stone’s Rag,” provides Braun’s style attempts to integrate pioneers of 20th-century flute and a festive finale . both traditional and avant-garde recorder techniques . In The Recorder The violin and recorder are equal musical elements, with mixed success . Today (1990), Eve O’Kelly discusses partners in the work .The guitar’s Basso Bizarro is a very brief Braun as well as other recorder com- role is purely for accompaniment .The “musical scene” for sopranino and posers of his generation—such as Rob bass guitar and percussion parts are contra bass recorder duo . It feels a bit du Bois, Hans–Martin Linde and optional, though the composer strongly like a fragment from a larger work, —working in the recommends them (as well as the but would make a nice concert inter- avant-garde idiom . Edition Gamma possibility of adding another regular lude for this very unusual pairing . has been Braun’s publisher since 2007 . guitar) .The arrangements are rather The majority of the musical Wegmarken was composed for the simple in concept and execution, material in the quartet Prismen young German recorder player Juliane though pleasant . (Prisms) is irregular repetitions of sin- Heutjer . It is in three sections of Carson Cooman is an active com- gle pitches, with brief arabesque-like roughly equal duration—the first for poser with a catalog of more than 600 interjections .The extended notation alto, the second for tenor, and the last musical works in many forms, ranging is explained in an afterword . All play- for soprano recorder . Braun states that from solo instrumental pieces to operas, ers perform from the score, which is these sections may stand alone . and from orchestral works to tunes. presented as a series of single-sided With Wegmarken, Braun contin- His work is recorded on over 10 labels, loose-leaf pages . ues the extended technique idiom including Naxos and ABC Classics. www.AmericanRecorder.org March 2012 51 that evolved in the 1960s, notably in All special notation is adequately the impression that Wegmarken leaves Hol­land and Germany . Among the explained, but only in German .The is, in fact, that it is overburdened with techniques the player encounters in fingerings for the are them . Offsetting this somewhat is the this genre, and in Wegmarken in par- given directly under the note affected, contrast in timbre between the various ticular, are multiphonics, foothole- but not always at subsequent occur- recorders . Repetition and development stopping, sputato (“spit” tonguing), rences; thus, the player must commit of motives would have lent greater humming, foot-stomping, flutter- these to memory or pencil them in . unity to the whole . tonguing, labium-fluttering, wind- A bit of one-man-band technique Like much avant-garde music, rushing, , and rhythmic and is required where the player must Wegmarken would furnish excellent finger vibrato . A YouTube video fea- stomp the feet in one rhythm while material to accompany a dance impro- tures Pete Rose performing Atom­ playing another .The composer does visation . Despite its demands, players bogen, a similar Braun piece where not specify what type of shoes are to be should not hesitate to attempt this the techniques required in Weg­ worn or what sort of floor is required . piece . Even if not realized exactly marken are amply demonstrated . The reviewer’s reading came to as written, the result will no doubt The title, perhaps a reference about 10 minutes . If the effectiveness prove interesting . to Martin Heidegger’s Wegmarken of the special techniques is in inverse Anthony St. Pierre essays, means “path markers,” but proportion to their application, then no significance is noted . As in many other scores of its type, virtu- Consider advertising in ally all aspects of performance are ______Classified rigorously micromanaged, resulting ______in a highly complex and rather ______intim­i­dating presentation that would For current rates and specifications, see not suffer from some simplification . www.americanrecorder.org/pubs/adver.htm. Where the haves Please inquire about discounts on multiple- For instance, by indicating staccato, issue contracts or other special requests. one could eliminate little rests and have-nots Advertising subject to acceptance by magazine. Reservation Deadlines: between notes . of the recorder world December 1 (January), February 1 (March) , Braun uses no general tempo April 1 (May), August 1 (September), indications, but provides specific can find each other October 1 (November). For more information, contact the ARS office, metronome markings .“Perfect pulse” Wanted Kung Classica soprano PO Box 220498, St. Louis, MO 63122-0498; is doubtless a rare gift; how precisely recorder. Call Ingrid 573-578-3016, 800-491-9588 toll free; 314-961-1866 phone; [email protected]. 866-773-1538 fax; can one expect a performer to match [email protected] the indications during performance? 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52 March 2012 American Recorder

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