Published by the American Recorder Society, Vol. XLVI, No. 1 january 2005 Order your recorder discs through the ARS CD Club!
The ARS CD Club makes hard-to-find or limited release CDs by ARS members available to ARS members at the special price listed (non-members slightly higher), postage and handling included. An updated listing of all available CDs may be found at the ARS web site:
IN STOCK (Partial listing) ____JOURNEY Wood’N’Flutes, Vicki Boeckman, ____ARCHIPELAGO Alison Melville, recorder & Gertie Johnsson & Pia Brinch Jensen, recorders. traverso. Sonatas & concerti by Hotteterre, Stanley, Works by Dufay, Machaut, Henry VIII, Mogens Bach, Boismortier and others. $17 ARS/$20 others. Pederson, W.W. Van Nieuwkerk & Maute—seven ____ARLECCHINO: SONATAS AND BALLETTI centuries. Kadanza Classics. $17 ARS/$20 others. ____SOLO, OF J. H. SCHMELZER Ensemble Caprice Stuttgart. ____A JOURNEY AMONG TRAVELLERS DOUBLE & TRIPLE Matthias Maute & Sophie Larivière, recorders; (CD SHORT) Peter Bowman & Kathryn Bennetts CONCERTOS OF BACH & TELEMANN Michael Spengler, gamba; Maria Grossman, harpsi- perform Donald Bousted’s 26-minute quarter-tonal Carolina Baroque, Dale Higbee, recorders. chord. Works by Schmelzer, Muffat, Vitali. Antes piece for two alto recorders, which had its U.S. premiere at the 1998 Berkeley Festival. 2-CD set, recorded live. $24 ARS/$28 others. Edition. $17 ARS/$20 others. ____SOMETHING OLD, SOMETHING NEW John ____ BACH: MUSIC TO CHALLENGE THE $12 ARS/$14 others. ____LANDSCAPES David Bellugi, recorders; Ali Tyson, recorders, with Renaissonics. Baroque & con- INTELLECT AND TOUCH THE HEART Carolina temporary music. Titanic. $17 ARS/$20 others. Baroque, Dale Higbee, recorders. Cantata No. 21, Tajbakhsh & Chris Hayward, percussion. “Virtual” recorder orchestra created by Bellugi. Three centuries ____SONGS IN THE GROUND Cléa Galhano, Part One; Cantata No. 182. $17 ARS/$20 others. recorder, Vivian Montgomery, harpsichord. Songs ____ BACH & HANDEL: BAROQUE MASTERS of ethnic music by Encina, Brouwer, Ortiz, Bartok. Frame. $17 ARS/$20 others. based on grounds by Pandolfi, Belanzanni, Vitali, Carolina Baroque. Dale Higbee, recorders. Bach, others. 10,000 Lakes. $17 ARS/$20 others. Excerpts from several operas and cantatas, ____LES AMIS DU BAROQUE Paul Nauta, recorder & Baroque flute; Koen Dieltiens, recorder. Music by ____SWEET FOLLIA, THE RECORDER ON TWO recorded in 2002 concert. $17 ARS/$20 others. CONTINENTS Ensemble Caprice. Matthias Maute ____BLOCKFLOETENENSEMBLE WIEN Bassani, Corelli, Vivaldi, etc. Highlight Intl. $17 ARS/$20 others. & Sophie Larivière, recorders. Selections by Irmtraut Freiberg, Karin Heinisch, Susanne Jurdak, Purcell, Morley, Maute, Couperin, Van Eyck, others. Eva Maria Kaukal & Prisca Loeffler, recorders. ____MANCINI: CONCERTI DI CAMERA Judith Linsenberg, recorders; Musica Pacifica. Seven Atma Classique. $17 ARS/$20 others. Ensemble works by Demantius, Monteverdi, ____TELEMANN ALLA POLACCA REBEL Matthias Morley, Mozart, Schermann, Kaeser, W. W. Mancini sonatas, plus works of Durante, D. Scarlatti. “Highly recommended” citation, 2000 Vivaldi Prize, Maute, recorders & traverso, play concerti and suites van Nieuwkerk, Pachelbel, Reichard. by G.P. Telemann. . $17 ARS/$20 others. $17 ARS/$20 others. Giorgio Cini Foundation. Dorian. $17 ARS/$20 others. ____MIDNIGHT SUN Alison Melville & Colin Savage, ____TELEMANN: CHAMBER CANTATAS & TRIO ____CHARLESTON PRO MUSICA ON TOUR SONATAS Judith Linsenberg, recorders; Musica Marsha Evans, Lewis Fitch & others, recorders, recorders; Ensemble Polaris. New arrangements of traditional music of Norway, Finland, Estonia, Sweden, Pacifica. Five cantatas of Harmonischer Gottes- gemshorns, guitar and voice. Medieval and dienst, two trio sonatas from Sonatas Corellisantes. Renaissance music with consort and singers. Scotland. Classic CD Disc of the Month, August 2000. Dorian. $17 ARS/$20 others. 2003 Chamber Music America/ WQXR Record Millennium Music/ Charleston SC. $17 ARS/$20 others. Award. Dorian. $17 ARS/$20 others. ____A. CORELLI Ensemble Caprice Stuttgart. ____MUSIC FOR A WINTER’S EVE, Bringing ____TELEMANN: DUOS POUR FLUTES, Matthias Maute & Sophie Larivière, recorders; Light to the Darkness. Eileen Hadidian, recorder & Ensemble Caprice. Matthias Maute & Sophie Michael Spengler, viola da gamba; Maria Baroque flute, with voice, violin, viola da gamba & Larivière, recorders & transverse flute, Alexander Grossman, claviorganum. Works by Corelli & Celtic harp. Traditional, Renaissance and Medieval Weimann, clavichord. Six Telemann duos & Kuhnau. Antes Edition. $17 ARS/$20 others. songs to celebrate midwinter and the changing of sonatas alternate with five fantasies for clavichord ____DREAMS INSIDE THE AIR TUNNEL the seasons. Healing Muses. $17 ARS/$20 others. by Maute. Atma Classique. $17 ARS/$20 others. Zana Clarke, recorder & composer. “Drawing on the ____MY THING IS MY OWN: BAWDY MUSIC OF THOMAS D’URFEY Tina Chancey, Grant Herreid & ____TRIO ATLANTICA Lisette Kielson, recorders. music of the didjeridu & shakuhachi...beautiful & Works by Bach, Telemann, Montéclair, Leclair. Trio hypnotic...”—American Recorder. Orpheus Music. Scott Reiss, recorders & other early instruments; Rosa Lamoreaux, soprano. Improvisations on Atlantica. $17 ARS/$20 others. $17 ARS/$20 others. ____20TH CENTURY MUSIC FOR RECORDER & ____ENSEMBLE PIACERE 2002 Ensemble tunes of love, sex & seduction in 18th-century England. Koch Int’l. $17 ARS/$20 others. PIANO Anita Randolfi, recorders. Music by Jacob, Piacere, Irmtraut Freiberg, Eva Maria Kaukel, Bartok, Leigh, others for recorder & piano. $17 recorders. Sparkling performances of works from ____PRIEST ON THE RUN Piers Adams, recorders. Concerti composed by the ensemble’s namesake, ARS/$20 others. the Renaissance to the 20th century by ____ VIVALDI: LA NOTTE Concerti per strumenti Frescobaldi, Ortiz, Telemann, Fux, Keil and many flame-haired Vivaldi. Upbeat. $17 ARS/$20 others. ____RECORDER JAZZ Warren Kime, recorder. diversi. Judith Linsenberg, recorder; Musica Pacif- others. Ensemble Piacere. $17 ARS/$20 others. ica. Award-winning CD, featuring five Vivaldi con- ____FOLIAS FESTIVAS Cléa Galhano, recorders; Original jazz charts with a great groove. $17 ARS/$20 others. certi, two sonatas. Dorian. $17 ARS/$20 others. Belladonna. 16-17th-century music by Falconieri, de ____VON PARIS NACH WIEN Duo Caprice Tafalla, Merula, others. Dorian. $17 ARS/$20 others. ____REFLECTIONS, Music to Soothe and Uplift the Spirit. Eileen Hadidian, recorder & Baroque Stuttgart. Matthias Maute, recorder & Michael ____FRUIT OF A DIFFERENT VINE Alison Spengler, gamba. Works from Paris to Vienna by Melville, Natalie Michaud & Colin Savage, flute, with Celtic harp and ’cello. Celtic, traditional, Renaissance & Medieval melodies. Healing Muses. Rameau, Satie, Maute, J. Haydn, Chopin, others. recorders; A. Hall, piano. Works by Hindemith, Antes Edition. $17 ARS/$20 others. Berkeley, Leigh, Staeps. 1994 ARS Professional $17 ARS/$20 others. Recording Grant CD. S.R.I. $17 ARS/$20 others. ____ SACRED & SECULAR CANTATAS OF J. S. Please indicate above the CDs you wish to order, ____THE GREAT EMU WAR Batalla Famossa, a BACH. Carolina Baroque. Dale Higbee, recorders. and print clearly the following: young ensemble, with first CD of Australian Live performances of three cantatas, BWV 82a, Name______recorder music. Orpheus. $17 ARS/$20 others. BWV 202, BWV 209. $17 ARS/$20 others. Daytime phone: (_____) ______SAMMARTINI: SONATAS & CONCERTOS FOR ____THE GREAT MR. HANDEL Carolina Baroque, Address: ______Dale Higbee, recorders. Sacred and secular music FLUTE Ensemble Caprice & Rebel. Matthias Maute City/State/Zip: ______by Handel. Live recording. $17 ARS/$20 others. & Sophie Larivière, recorders & traverso. Extended ____HANDEL: THE ITALIAN YEARS Elissa concertos and sonatas by Sammartini & Maute. Check enclosed for Berardi, recorder & Baroque flute; Philomel Atma Classique. $17 ARS/$20 others. _____ single CDs x $___ = $______Baroque Orchestra. Handel, Nel dolce dell’oblio & ____A. SCARLATTI: CONCERTI DI CAMERA Judith _____ 2-CD sets x $____ = $______TOTAL $_____ Tra le fiamme, two important pieces for obbligato Linsenberg, recorders; Musica Pacifica. Seven sona- Please charge the above amount to my MasterCard or recorder & soprano; Telemann, Trio in F; Vivaldi, tas, various instrumentations. $17 ARS/$20 others. Visa:#______Exp. Date: ______LES SEPT SAUTS: Baroque Chamber Music All’ombra di sospetto. Dorian. $17 ARS/$20 others. Cardholder’s signature: ______at the Stuttgart Court. Matthias Maute & Sophie ____IMAGINE II David Young, recorders. More con- Mail to: temporary interpretations of classic songs from the Larivière, recorders & traverso; Ensemble Caprice. ARS, 1129 Ruth Dr., St. Louis, MO 63122-1019 USA.. 1970s by Neil Young, Jim Croce, Carole King, and Charming repertoire by Schwartzkopff, Bodino, You may fax your credit card order to 314-966-4649. Moody Blues. Universe Music. $17 ARS/$20 others. Detri. Atma Classique. $17 ARS/$20 others.
EDITOR’S ______NOTE ______Volume XLVI, Number 1 January 2005
he image in my mind of the concert FEATURES Tplaces it sometime in the 1970s. It was Recorder Day! ...... 12 a small venue, and we were close enough Get ready to celebrate by playing the recorder during March to see the sweat on the faces of the performers, soft-rock group Loggins & Dreams That Dance ...... 16 Messina (Your Mama Don’t Dance, House at An interview with jazz recorder player and drummer Eddie Marshall Pooh Corner). Even though the name of the 4 by Frances Feldon group’s wind sideman long ago left my memory, I still remember his playing— especially when he played two recorders DEPARTMENTS simultaneously (an alto and a tenor, as I recall). I was pursuing a degree in modern Advertiser Index ...... 44 flute and didn’t play recorders then. The Book Reviews ...... 22 sound of those recorders, coupled with his Chapters & Consorts ...... 40 advanced facility and florid improvisations 8 (even using only “left hand” notes), was Classified ...... 44 just the right effect for that music. Music Reviews...... 29 A few others were playing jazz and On the Cutting Edge...... 23 pop recorder by that time, including Eddie Marshall. Frances Feldon’s long- Opening Measures ...... 42 standing interest in those musical styles President’s Message ...... 3 has spurred her to perform them on recorder herself (see the September 2004 Q&A ...... 28 16 AR coverage of events that took place last Response ...... 25 summer in Berkeley, CA). She talks with Tidings ...... 4 Eddie (page 16) in the first of her series of ON THE COVER: interviews with performers who have ven- Cover Art by Pete Rose to receive ARS Distinguished Achievement Award; tured to take their recorders onto the Philip Celeste New York Early Music Celebration; early music at the e-mail
6 American Recorder PRESIDENT’S MESSAGE ______The joys of HIP-ness
s a recorder player, for years I’ve with flutes playing the recorder parts. I was tion, that is one way to A been intrigued by the concept of thoroughly disappointed. experience the music historically informed performance (HIP). If you are playing Hotteterre or Quantz more authentically I like the way that Altramar describes duets, you might want to read treatises by (although you should HIP on their web site,
January 2005 7 TIDINGS ______Early music happenings in New York City and ______Seattle, young recorder players make their mark Pete Rose to be awarded ARS Distinguished
Pete Rose at the October 2004 premiere Achievement Award of his work MegaRONY during the Europe, many of them featuring a variety Hunt, Eugene Reichenthal, Frans Brüggen New York Early Music Celebration. of contemporary written and improvised and Valerie Horst. (Photo by Rebecca Arkenberg) works for the recorder. He has won critical The DAA ceremony and reception will At its September 2004 meeting, the ARS acclaim for his interpretation of works that be held during the Boston Early Music Fes- Board accepted a committee recommen- involve microtonality, circular breathing tival in June. Details will be provided in dation to present the ARS Distinguished and jazz elements. the March issue of American Recorder. Achievement Award (DAA) to Pete Rose. Rose has also served as columnist, crit- More information on Rose and his This award was established by the Board ic and contributing editor for American accomplishments are available on his web in 1986 to recognize and honor individu- Recorder, and has written articles for the site,
8 American Recorder
Early Music well-represented at American Musicological Society 2004 Early music is alive and well, as demon- bataglia. Compared to the Flanders bass section, where I found myself, strated by the high visibility and number Recorder Quartet’s “live” version of the seemed to improve as the session wore on. of early music activities during this year’s Isaac piece, which I happened to have The evening was capped off with an American Musicological Society con- heard several nights before at Regis Early Music Guild performance by The ference, held in Seattle, WA, November University in Denver, CO, the Ciaramella English Concert, directed by Andrew 11-14. The recorder was featured or performance did not provide quite as Manze and brilliantly performed. The discussed in several of those events, and a much “battle.” The distinction was due concert included programmatic pieces by number of other important early music partly because of the choice of instru- Schmelzer, Biber and Locatelli, but activities were organized in cooperation ments used (Flanders Quartet played in a focused on three Vivaldi violin concertos, with Early Music America (EMA). These range an octave lower, with the bass including the B minor Concerto (Opus 3 ) activities are the focus of this report. recorder on the top line; Ciaramella used for Four Violins—a wonderful crowd The conference, jointly held this year ATTB), but also because of the lighter pleaser. Looking through the EMG with the Society for Music Theory, attack of Ciaramella vs. the frequent program that evening, the English Concert always features early music topics in its “chiffing” used by the Flanders group. was just one of a number of outstanding daily sessions: “Women and Music in Ear- Still, Ciaramella’s recorder ensemble presentations offered this season. Others ly Modern Europe”; “Medieval Composi- sound was balanced and impressive. The include the viol sextet Fretwork, with tional Methods”; “Sacred Spectacle in Me- anonymous piece Fortuna desperata was Emma Kirkby (earlier in the year), and two dieval Tuscany”; “Rhetoric and Allegory in particularly successful, with sensitive upcoming performances that prominently the Baroque”; “Early Medieval Theory”; phrasing and excellent intonation. feature the recorder—Red Priest (with “Noise and Notation in Trouvère Music”; I loved the pieces played on shawms. Piers Adams) and Piffaro. I am certainly “Performers and Audiences in Renais- The two slow anonymous magnificats impressed with the early music activity in sance Florence”; and the list goes on. were gorgeous and Non desina was a lively, Seattle. I arrived in Seattle late on November imitative and brilliant piece—perfect for On Saturday afternoon, I attended a 11, and caught the end of EMA’s first double reeds. I was surprisingly less session for early music directors, also evening session, titled “Heresies and Hear impressed with the sung pieces, although hosted by EMA. This hour-long meeting Says Revisited: Thoughts on Instrumental that may have had to do with the fact that has become a regular feature at the AMS Performances of Untexted Parts and the group (at least on this afternoon) did conference. The topic of this year’s ses- Repertories 1350-1550.” While I missed not seem as confident and relaxed with the sion, moderated by Lyle Nordstrom of the most of the excitement of this paper ses- texted repertoire compared to the University of North Texas, was “Making sion (moderated by Jeffery Kite-Powell), I untexted pieces. the Case for an Early Music Ensemble at did attend a subsequent concert by Your College or University.” About 20 peo- Ciaramella, an early music ensemble that ple, mostly collegium directors, attended. put into practice the performance of Ciaramella’s performance The session offered some good and untexted parts on instruments. insightful suggestions from the panelists, Ciaramella was first runner-up in the was a highlight of the day. as well as thoughtful responses from the 2003 EMA competition and recorded its participants. début CD in 2004. The group includes Regardless, Ciaramella’s performance University and college early music Adam and Rotem Gilbert (both also was a highlight of the day. There is nothing ensembles seem to have particularly members of Piffaro), Doug Milliken and like bringing the manuscripts to life— challenging hurdles, including: few, if any, Debra Nagy (all playing recorders or especially after a morning of musicology early instruments; small or no budgets; shawms), and Anna Levenstein, voice. and theory papers (as thought-provoking colleagues who are not always happy to All except Milliken are current or former as they might be). share their students (usually classical doctoral students at Case Western Reserve Later there was an open session hosted instrumentalists or singers) with col- University, where Ross Duffin runs an out- by EMA called “Singing from Renaissance legium directors; many hours of extra standing early music program. The group Notation.” The informal vocal gathering contact and rehearsal time; and fluctuat- performed an afternoon of music from the was conducted by EMA president Valerie ing numbers of students that offer little Renaissance manuscript, “Panciatichi 27” Horst and was well-attended by about continuity from one semester to the next. of Biblioteca Nazionale Centrale di 40-50 participants. Horst’s commentary The picture was not all bleak, however, Firenze. was kept to a minimum, leaving as much and there are a number of thriving col- “Panciatichi 27” is a manuscript that time as possible for the actual singing— legiums scattered around the country. The comprises a number of texted and and everyone obliged, with two or three more successful collegium directors find untexted pieces—ranging from several readings of each piece. The hour-long innovative ways of developing interest and spirited and dance-like anonymous session was friendly and cozy, aided by continuity in their programs. Some of pieces, to a beautiful vocal work by some decent wine that circulated around these activities include combining early Josquin, to Heinrich Isaac’s popular A la the room. Perhaps not coincidentally the music with outreach programs, collabo-
10 American Recorder rating with other departments (English, bles. Of all the early instruments, the drama, dance or chapel services, for recorder is still the most commonly example); bringing in community known, especially since students members and guest artists/teachers; and usually begin to play the instrument in fund-raising. elementary school as part of a general And, as Nordstrom pointed out, there introduction to music. Mary Natvig, who are certain advantages that early music teaches at Bowling Green State University, ensembles have over larger choirs and suggested incorporating the recorder orchestras. There is often more individual in music education methods courses. attention paid to students, since early Personally, I think this is one of the more music programming provides opportuni- important and productive areas on Ciaramella members Adam and Rotem Gilbert ties to feature many—if not all—of the which we should focus and, in fact, this is (left) and Mahan Esfahani(right) with Doug ensemble members. There are also a lot of precisely an area we are currently examin- Milliken and Debra Nagy, in a photo taken by extra educational opportunities in early ing in the ARS Education Committee. Rebecca Arkenberg after the group’s perform- music ensembles, such as spending a All in all, the weekend provided some ance in the October finals of EMA’s Medieval/ greater amount of time working on superb opportunities to discuss and listen Renaissance Performance Competition. performance practice, ornamentation and to early music, to catch up with colleagues participation in this year’s AMS events. improvisation. and friends, and to explore one of the They are really helping to develop a lively The recorder, of course, often plays a more active early music scenes in the U.S. interest in early music. prominent role in many of these ensem- EMA is to be commended for their Mark Davenport Bits & Pieces Going for Baroque on Long Island Under artistic director Sonia Gezairlian The Society of Recorder Players (SRP) Diverse Passions welcomed guest Grib, the Long Island (NY) Baroque and Moeck UK will again sponsor an artist Rotem Gilbert of Renaissance band Ensemble is celebrating its 35th international solo recorder competition Piffaro for its December concerts in anniversary season in 2004-2005 with aimed at young players who aspire to a Denver and Boulder, CO. The program, performances in Smithtown and in professional career in music. Adjudicators A Medieval Christmas, centered on the Oyster Bay. Paul Leenhouts, Pierre Hamon and Ian varied musical world of 14th-century The October kickoff event, Anniver- Wilson will choose finalists to perform in Europe, including works by de Vitry, sary Bash Concertos, included two works a public concert during the Greenwich Machaut, Ciconia and Landini. Diverse featuring Rachel Begley on Baroque International Festival of Early Music 2005. Passions members include Jennifer Spiel- alto recorder—Telemann’s Concerto di Deadline for entries is February 4. man, soprano and plectrum lute; and camera for recorder, two violins and con- Each applicant must submit a 30-minute Michael Lightner and Linda Lunbeck, tinuo (harpsichord, ’cello and violone), CD or cassette, demonstrating the per- recorders. and Vivaldi’s Concerto in C major for former’s standard of playing over a wide Lisette Kielson, recorderist with recorder, oboe, two violins and continuo. cross-section of the recorder repertoire. chamber group L’Ensemble Portique, Begley gave an eloquent and graceful In addition to cash prizes donated by collaborated with Matthew Tift, Universi- performance of the Telemann work, play- Moeck UK, the SRP and the Walter ty of Wisconsin-Madison musicologist ing with an overt emotional engagement Bergmann Fund, the first prize winner will and AIDS activist, to present Positive that commanded the audience’s full present a recital at the Greenwich Interna- Music: Musical Responses to HIV/AIDS on attention. She joined oboist Virginia tional Festival of Early Music 2006. December 4 in Madison, WI. Proceeds Brewer for the Vivaldi piece; the sound of For additional information, contact from the event went to AIDS Network of two wind instruments complemented competition administrator Mary Tyers Madison. Unlike other AIDS benefit con- each other quite effectively, as did at
January 2005 11 A Success Story: the East Bay Junior Recorder Society leagues Morgan Jacobs and Andrew Levy at Albany High School’s annual Madrigal Night. With the encouragement and sup- port of Hanneke, Rebecca selected reper- toire, organized rehearsals, and took on the administrative work of coordinating the group’s performance with the high school music director. The confidence she brought to the task—and to the perform- ance, as group leader—was a direct out- growth of her EBJRS experience. Rebecca has also been especially active East Bay JRS members (l to r) Rebecca part in the next. As the members gain in in arranging music for the EBJRS. She has Molinari, Andrew Levy (partially visible), musical maturity, they gradually take on arranged a wide range of repertoire, from Rob Moses and Siobhan Williams. responsibilities of all the roles, becoming music of the 17th-century English court to (Photo by Sheila Newbery) proficient in the full range of instruments. Broadway show tunes. These have been here is a bright spot in Berkeley, in the The fruits of this kind of musical train- performed at various public venues in- Tbleak landscape of California music ing are not immediate—they take time to cluding the 2002 Berkeley Festival. An- education: it’s the East Bay Junior develop. And one can easily overlook drew, too, has written for the EBJRS: his Recorder Society (EBJRS). them, particularly as the special compe- Ronde de L’Anniversaire was performed by The group ranges from seven- and tence that kids develop in the EBJRS the group in 2001. Indeed, composing eight-year-old beginners to 16- and 17- makes it possible for them to take on oth- and arranging are specifically encouraged year-old advanced players. On the face of er musical challenges. If we follow a few of by all three directors, who nurture the stu- it, this fact may seem unremarkable— the EBJRS members’ activities over just dents’ confidence in inventing music by but the age and skill range is in itself a the last couple of years, however, we can incorporating regular improvisation and testimony to the strength and continuity see the broader significance of what Tish, listening games into the curriculum. of the program, which directors Letitia Louise and Hanneke have done. EBJRS members Henry Finucane, Berlin, Louise Carslake and Hanneke Rebecca, Morgan, and Andrew have all van Proosdij have tirelessly cultivated launched ensembles that competed for or over the years, with the help and impetus The fruits of this kind of won performance opportunities in the Bay of the East Bay Recorder Society (EBRS). Area’s annual Junior Bach Festival. These The EBJRS opens a window for many musical training are not are entirely voluntary efforts that have children onto a different sort of musical brought wide attention to and interest in practice—different, that is, from the em- immediate—they take recorder performance, and are in no small phasis on solo performance in much clas- measure an outgrowth of the communal sical musical instruction. The goal of the interest in the recorder inspired by the monthly EBJRS meetings is to introduce time to develop. EBJRS. young players to the pleasures—and Under the auspices of the Junior Bach rigors—of ensemble playing. Being an Let’s start with Yvonne Lin. In 2000, as Festival, recorder ensembles have per- intelligent ensemble member makes a member of the EBJRS, Yvonne played an formed in Bay Area public schools, significant technical and social demands effortless and witty sopranino solo in the churches and, in one instance, received an on the individual: one must learn and EBJRS performance of Erik Satie’s Chez le invitation to perform at the Carmel Bach understand the varying roles one will play Docteur (Matthias Maute, arr.). She has Festival. Andrew’s ensemble was featured in a given repertoire, and one must strive since gone on to take a leading role in the in a 2003 television news segment about to enhance the coherence of the whole by Albany (CA) High School jazz band, where the Festival aired throughout the entire developing musical awareness of others she is regularly called upon to improvise Bay Area, a news clip that continues to be (easier said than done, at any age). on the saxophone, weaving fluent solos shown to prospective Junior Bach This is not to say that EBJRS members out of and back into the texture of the performers and their parents. are never called upon to shine as individu- ensemble. Yvonne’s mother credits the These efforts, of course, involve inten- als—but, rather, that solo parts as such in EBJRS experience in large part for her sive support—they owe much to the en- the EBJRS are not the province of only one rather shy daughter’s intense motivation thusiasm and generosity of the EBJRS di- or two of the players whose primary pur- to land a seat in the competitive jazz band. rectors, and harpsichordist Katherine pose is to occupy the limelight. A girl who Other EBJRS members have initiated Westine, in their capacity as expert en- is playing a technically difficult and con- ensemble activities with EBJRS peers. In semble coaches. Not only are they some of spicuous soprano line in one piece may be 2003, Rebecca Molinari organized a our most acclaimed performers, but called upon to play the foundational bass recorder performance with EBJRS col- through their direction of the EBJRS, they
12 American Recorder East Bay Junior Recorder Society have unquestionably become a corner- ers). Boosted in this way, stone in Bay Area music education. and with the help of schol- Because the knowledge and contacts of arships awarded directly the EBJRS directors reach deep into the from the American musical community (via the Farallon Recorder Society (ARS), Recorder Quartet, Philharmonia Baroque some of the teen members Orchestra, Music’s Recreation, Bay Area have now become regular Recorder Series, just to name a few), the participants at the San students have found not only a stimulat- Francisco Early Music ing musical home in the EBJRS, but a por- Society (SFEMS) work- tal to the wider world of music-making. shops and have expanded Guest conductors are frequent visitors, their scope of travel to in- and have included Vida Bateau, Frances clude other workshops Blaker, Kathy Cochran, Sabine Djernaes, around the country— Frances Feldon, Eileen Hadidian, Shira at Indiana University, As an example of community building, Kammen, David Morris, Rachel Streeter, Oberlin Conservatory, or Amherst Early then—of handing down to the next Jane Webber and Joanna Bramel Young. Music Festival. generation the love and practice of Group performances also regularly Even the youngest EBJRS members music-making—the EBJRS has been a bring the EBJRS into contact with a larger have taken their musical competence into resounding success. musical audience via opportunities to play new spheres—witness the tremendous But it is also a fragile one, kept afloat by at EBRS meetings (where some EBJRS influx of young recorder players to the the generosity of individuals and larger members have now also become regular SFEMS Music Discovery Workshop, and organizations like ARS and SFEMS. That it participants) and at the Berkeley Early the leadership role recently taken by teen should continue in the midst of the sever- Music Festivals of 1998, 2000 and 2002. EBJRS members as assistant instructors at est cutbacks in arts funding ever witnessed The EBRS has encouraged EBJRS that workshop. One faculty member at the in the country (California’s public funding members to attend Bay Area recorder workshop spontaneously exclaimed (not for the arts was devastated in 2003) is workshops and has provided concrete knowing that virtually all of the recorder remarkable and should give every reader support in the form of scholarships (in ad- players at the workshop were EBJRS mem- some notion of the dedication and hard dition to generous support the EBJRS as a bers): “Hey, some of these recorder players work it has required. whole receives from the EBRS and from a are really good!’’ We all agree that it’s worth our efforts. number of local individual recorder play- Sheila Newbery
January 2005 13 I THE NEW YORK EARLY MUSIC CELEBRATION n early music festival is an immersion nition from the New York Times, the cele- The second play-in, held the next Aexperience. Commit yourself to it and bration has to be rated a success. weekend as part of Recorder Celebration pretty soon you’re up to your ears in basso The kick-off event was a performance Day, featured three teachers who are also continuo—a pleasure that New Yorkers of G. F. Handel’s Water Music and Musick performers—Rachel Begley, Mor and have traditionally had to go elsewhere to for the Royal Fireworks played by EMNY Tricia van Oers, otherwise known as the get. No more. The first New York Early under the direction of Frederick Renz. New Amsterdam Recorder Trio—and Music Celebration (NYEMC), held in (Proof that it was the kick-off: a city coun- attracted an even larger group. New York City, NY, from October 1-10, has cilwoman presented framed plaques and And then there was Matthias Maute’s finally made it possible to overindulge in read a congratulatory letter from the may- master class with Michael Rosenberg, cantus firmus without leaving town. or.) With 59 musicians playing historical Caroline Thompson and Ortrun Gauthier No one knows why it took so long. instruments—including a dozen Baroque playing Telemann; Gregory Bynum play- After all, the New York Pro Musica Antiqua oboes, horns galore, and three sets of ing Bach; Kenneth Shaw with Dieupart; was created over 50 years ago. Music timpani located left, right, and center— and Alicia Kravitz performing Vivaldi’s Before 1800, among other series presen- it was a stupendous performance. Concerto in C Major. (“This piece was re- ters, has been around since 1975. (They But although the Water Music featured discovered in the ’60s and was a shock for offered the sublime a capella group a lovely Baroque flute, played by Charles the recorder world,” Maute said. “Every- Pomerium during NYEMC.) New York Brink, I was impatient to hear—and to one had to play such a difficult piece.”) City has a vibrant early music scene. play—the recorder. There was opportuni- According to one observer, “This was But 60 concerts in 10 days, all played ty for both. the best master class I’ve ever seen, by local groups? It took Gene Murrow, The first play-in, a four-hour marathon, because everything was put into historical former president of the American was sponsored by the New York context.” Recorder Society and now general manag- Recorder Guild under the direction of Still, the NYEMC was primarily about er of Early Music New York (EMNY), to John DeLucia, who recruited many of concerts, including the following: make it happen. New York City’s most distinguished teach- · The Mannes Baroque Artists, with ers for the event. Deb- Nina Stern on recorder, Sandra Miller orah Booth, Richie on flute, Martha McGaughey on viola and Elaine Henzler, da gamba, and harpsichordist Arthur Valerie Horst, Daph- Haas playing music from France and na Mor, Morris New- Germany. Particularly noteworthy were man, Anita Randolfi, François Couperin’s Pièces de clavecin, Mordecai Rubin, and an extravaganza of ornamentation that, three past presidents among other things, perfectly evoked a of the ARS—Kenneth pair of butterflies in flight; and J. J. Wollitz, Murrow, and Quantz’s Trio-Sonata in C Major, which Martha Bixler—were featured a dialogue between recorder allotted 20 minutes and flute and was the only trio sonata each to rehearse any he composed for those instruments. John DeLucia conducts participants in the New York Recorder Guild piece they chose. · Ensemble Breve, with Booth and play-in. (Photo by Michael Zumoff) Selections ranged Newman on recorder plus harpsi- from Horst’s choice chordist Jan-Piet Knijff and gambist Jay “We had several objectives when we of a piece by Guillaume Dufay, “the great- Elfenbein. When I walked in with an launched the idea two years ago,” he says. est composer of the 15th century,” to iPod-toting 21-year-old, my young “We wanted to raise the profile of early Randolfi’s selection of David Goldstein’s music in New York; to bring in new audi- Slow Dance and Fast Dance, both original- ences; to strengthen the sense of commu- ly published in this magazine. When I walked in with an nity; to increase the awareness of venues “I had many sleepless night preparing iPod-toting 21-year-old, beyond Lincoln Center or Carnegie Hall; for this event,” DeLucia said. “But the and to enlighten members of the press, gods were there for us.” my young friend looked who have never stopped repeating the old Not only did the 30 to 40 participants mantra that New York is not an early mu- play some wonderful music, we received around and whispered, sic town.” helpful counsel that ranged from Bixler’s “The demographic is Surely no one believes that any more. advice on how to avoid “honking out the With concerts ranging from solo recitals to high A” on a plastic tenor to Rubin’s always the same at operas; venues that included a Medieval reminder that “A musical activity is like a cloister, a colonial mansion, and many bullfight. It doesn’t matter what your concerts like this.... spectacular churches; and serious recog- credentials are once you get in the ring.” 14 American Recorder Matthias Maute, music in hand, listens as Michael Rosenberg and Caroline Thompson play Telemann. (Photo by Melvyn Pond) friend looked around and whispered, But the objective “The demographic is always the same truth is this: both houses at concerts like this, even in Arizona”— were packed, and for a by which he meant that, even though reason. The first concert we were on the campus of Columbia was performed by the University and swarms of students Recorder Orchestra of were everywhere, he was the youngest New York (RONY), a member of the audience by far. Long Island group In addition, the acoustics were directed by Booth; the astonishingly bad, especially for any- second by the Manhat- one not sitting in the first five rows of tan Recorder Orchestra (MRO) under Maute also gave a virtuoso solo the dilapidated Romanesque chapel. the leadership of Maute. Coincidentally, performance of another of his Yet the concert was lovely. Highlights each group began with Lord Zouche’s compositions: a dance suite in F major, included Heinrich Isaac’s Der Hund Maske by Giles Farnaby and premiered a convincingly written in the Baroque style. played first on low instruments and piece commissioned specifically for them. Glorious as these entertainments were, then on high, Bach’s Trio Sonata in C I can’t help wondering: is it possible to be Minor (BWV 1030), and a trio sonata by a recorder player without feeling defensive Bach’s contemporary Pierre Prowo. Is it possible to be a about the position generally accorded our · The New Amsterdam Recorder Trio recorder player without instrument? Personally, I’m always alert with mezzo-soprano Margo Gezairlian feeling defensive about for signs of acceptance. One form of it Grib. Using a set of instruments newly occurs when the recorder is included created by Peter van der Poel, Begley, the position generally without fanfare in big concerts. This Mor, and Van Oers presented Triste accorded our instrument? happened several times. España, a concert named after a Span- · Begley and Stern performed admirably ish romance mourning the death of Personally, I’m always in Rameau’s over-the-top opera Platée, Prince Juan in 1504. Particularly out- alert for signs of prompting mention in Newsday of their standing were performances of Dime “enchanting” performance. triste coraçon by Francisco de la Torre, acceptance. · Sacred Music in a Sacred Space present- which featured a duet between the ed a Renaissance mass by Francisco singer and Begley on bass recorder, In the case of RONY, that commis- Guerrero in collaboration with Piffaro, and Las Vacas by Alonso Mudarra. sioned piece was Pete Rose’s MegaRONY, whose versatile members play Early Music America presented the a three-movement composition culminat- cornetto, dulcian, harp, lute, sackbut, finalists in its annual competition for ing in a jubilant explosion of tambourines shawm, trumpet, recorder and emerging early music performers and and drums. MRO offered Maute’s Ten everything else. ensembles specializing in Medieval and Times Tenor, a jazzy study in syncopation · Finally, the Baroque orchestra Rebel Renaissance music. The six groups per- composed entirely for tenor recorders. and the choir of historic Trinity forming half-hour performances included Beyond these similarities, the concerts Church, located a few feet from where two showcasing virtuosic recorder play- were quite different. RONY’s program, A the World Trade Towers once stood, ing: Ciaramella and Ensemble La Rota. Musical Diversion: Renaissance Through performed two English chamber The NYEMC also offered two recorder Contemporary, focused on Renaissance operas: John Blow’s Venus and Adonis orchestra concerts. For the record, I am a and Baroque music, with eight out of and Dido and Aeneas by Blow’s pupil former member of one group and a current 11 pieces falling into those categories. Henry Purcell. Both operas provided member of the other, so I cannot pretend One affecting selection was William some fine recorder passages, including to be objective. Byrd’s five-part Come to me grief for ever, a spirited exchange in the former played in the lower register with plenty of between two tenors and a delightful big basses. The concert ended with a section in the latter for two sopranos. rendition of Cole Porter’s Anything Goes. Maute and Sophie Larivière did the MRO’s Banchetto Musicale included honors with style. early music (Schein and Handel), but paid Will New York City host another early close attention to Grieg, Satie and living music celebration? “It’s 99.5% certain composers: Maute; Paul Leenhouts, that another New York Early Music Cele- whose surprising Tale of the Old Saguaro bration will happen,” Murrow said. evokes the desert of the southwestern U.S. Although timing has not been deter- by asking the musicians to blow into the mined, this much is sure: the celebration labium, to finger notes without blowing, will remain strictly local. Murrow ex- to flutter tongue, and to employ all man- plains: “If you want to hear early music ner of knocks, trills, and breathing tech- from different countries, go to the Boston niques; and Hollywood composer Russell Early Music Festival. Or go to Utrecht. Garcia, whose exhilarating big band piece We’re doing something different. We want Manhattan Recorder Orchestra members await Force 12 featured improvisations by to celebrate New York’s rich early music the start of their performance at New York City’s Stephen Moise on sopranino, Rosenberg resources. That will remain a constant.” All Angels Church. (Photo by Melvyn Pond) on alto, and Randolfi on tenor. Nancy Hathaway
January 2005 15 Recorder Day!
by Richard Carbone Lullaby, also titled Bedtime Story on one quickly with the quarter note in the 90s, if manuscript copy, has become one of my you wish—but for me, I imagine a woman favorite compositions by David holding her baby; my tempo is much Goldstein (1918-2003). He sent a copy to slower, in the high 60s. me some years ago because he knew My preference is to let the alto line lead I loved good SAT trios. a softening and slowing of the last four Judging by the dates and types of measures, but I know how tolerant the pieces found with it in a file folder in his composer was—and how happy he was effects, Lullaby was probably written in to share his music and watch people 1987 when Goldstein was preparing the enjoying it. If he were with us, he’d tell us work that became Jewish Festival Songs, to play it any way we wanted! published by the Provincetown Bookshop Goldstein’s Lullaby is much like the in 1988. It is my guess that Lullaby was not tiny marine animals described by John included in the Songs collection because it Steinbeck in his novel, Cannery Row. To did not fit a specific Jewish holy day or try forcing them into a position on a slide celebration, as did its file-mates. just shatters them. You would do much One quality of Goldstein’s music is better to let them swim on to your slide by that nobody drones! Lullaby starts off with themselves. a simple melody which reminds most Lullaby is the type of piece that will find people of Mary Had A Little Lamb and is its own way into your heart—and that quickly shared by all three lines. is why the ARS Board has chosen it as Like much of Goldstein’s music, it is the special piece for our 2005 possible to choose very different tempi Play-the-Recorder Month celebration. and still be right. Lullaby can be played
Save this Date: March 12 is Recorder Day! Not only is March Play-the-Recorder Month, but March 12 has been designated Recorder Day! for 2005. All ARS members are invited to play the chosen composition by David Goldstein on March 12. Chapters, consorts, and any other members are encouraged, but not required, to play Lullaby at 3 p.m. EST (or 8 p.m. GMT for our international friends). It will be fun to know that fellow recorder players around the world are playing the same piece at the same time. The most creative use of Lullaby anytime on March 12 will win a special prize from the ARS. In addition, prizes will be offered to chapters for the most imaginative PtRM activities and for the largest percentage membership increase during March. Please send the details (including photos) of your chapter, consort or individual activities to the ARS office to help us tell other members how you celebrated Play-the-Recorder Month and Recorder Day! The winners will be announced in the September issue of American Recorder.
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16 American Recorder Lullaby David Goldstein
S & b c . . œ . , œ œ œ œ œ œ ˙ œ œ œ ˙ œ œ œ œ œ œ œ œ A & b c J J ˙. b c œ. œ œ œ œ œ ˙ œ. œ œ bœ ˙. œ T V J J œ œ œ œ œ œ
7 œ œ œœœ œ. œ œ ˙ œ œ œ œ œ ˙ œ & b Ó Œ œ J . œ ˙. œ ˙. œ . ˙. œ b #œ œ œ œ. #œ œ œ œ ˙ œ & œ J J . b œ œ ˙ œ ˙. œ ˙. œ ˙. œ V œ ˙ œ œ œ
13 œ œ œ œ œ œ œ œ œ j & b #œ ˙. #œ œ Ó œ. œ œ œ œ œ ˙ ˙ ˙ ˙ j œ œ ˙ ˙ œ œ œ œ œ œ œ œ œ œ & b Œ Œ œ Œ Œ ˙ ˙ ˙ œ V b œ ˙. œ ˙ Ó Œ œ Œ œ Œ œ Œ œ
19 j j b œ. œ ˙. Œ Ó Œ œ œ œ œ. ‰Œ œ & œ œ œ œ œ œ œ œ œ œ œ. j œ œ œ œ œ œ . , j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ #œ œ œ & b Œ Œ J J . œ œ œ . V b Œ œ Œ œ ˙ œ œ #œ œ œ ˙. #œ œ œ œ œ ‰Ó
Copyright © 2005 The Estate of David Goldstein. All rights reserved. A MIDI playback of this piece is available in Recorder On-Line at
January 2005 17 25 œœœ œ. œ œ œ œ œ œ œ œ œ œ œ œ & b J ˙ œ ˙ œ #œ ˙. ˙. œ œ ˙. œ œœœ œ. œ ˙ n˙ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ & b J œ ˙. œ œœœ œ. œ ˙. œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ V b J œ œ
31 œ. œ œ œ œ. œ œ œ œ œ ˙ œ. œ œ œ ˙. œ & b #œ œ J Ó Œ J Œ J . j . . œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ ˙ œ & b J J J œ b ˙ Ó ˙. Œ œ. œ œ œ œ œ ˙ Œ œ œ œ œ œ V ˙. œ Œ J
37 œ œ ˙ ˙ ˙ & b œ œ #œ œ œ ˙. #œœ w w w ˙ œ œ œ œ œ œ œ ˙. œ #œœ œ . œ œ. œ œ œ ˙ ˙ w & b Œ J . œ , b ˙ œ œ œ œ œ œ ˙ œ. œ . œ w V œœ œœ #œ œ ˙ J ˙
Copyright © 2005 The Estate of David Goldstein. All rights reserved. A MIDI playback of this piece is available in Recorder On-Line at
18 American Recorder Friedrich von Huene, the well-known recorder maker, was awarded the 2003 Curt-Sachs-Award of the American Musical Instruments Society (AMIS)
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by Frances Feldon hough few and far between, jazz and pop That appreciation and fervor for listening Tmusic recorder players have been an has remained with me to this day. What could important voice in recent American music be more natural than for me to seek out jazz history for almost 40 years. The intention of and pop music recorder players? this series is to introduce them to the wider Another of my mentors, LaNoue Daven- community of recorder players who are port, began not as a recorder player, but as a mostly familiar with early music. jazz trumpeter. Alas, I never heard LaNoue I have found that, although jazz recorder play jazz recorder. The author performs chamber music players are proponents and practitioners of a Since becoming interested in finding jazz with Flauti Diversi, an ensemble specializ- different idiom, they share the same passion and pop recorder players, I’ve discovered sev- ing in Baroque/contemporary works, for recorder and recorder playing that you eral in the U.S., sometimes under completely and Danza!, a Renaissance mixed and I do. They are amazing performers and random circumstances. A percussionist from consort. She teaches recorder and deserve to be better known to the recorder- New York with whom I play a lot of music Baroque flute privately at her studio in playing world. They are all interesting people once invited me to lunch with another drum- Berkeley, CA, and is a regular conductor as well, and I hope you enjoy getting to know mer while I was in Buffalo, NY. This drummer and faculty member at recorder workshops them and their music, as I have. happened to be a well-known band leader throughout North America. Ms. Feldon I first became interested in jazz around and arranger who used to play with a 1960s directs the SFEMS Recorder Workshop the age of 13. I would listen to the all-jazz folk rock group. When I asked him if he knew and teaches at Albany Adult School. station in Los Angeles, CA, with a little ear- of any jazz or pop recorder players, he said, In September 2003, she traveled to phone plugged into my transistor radio, late “As a matter of fact, I know this guy…,” and Montréal to conduct the recorder at night in bed when I was supposed to be turned me on to a most interesting and orchestra at the international festival asleep. At that time, I was a modern flute friendly rock recorder player, who will be the Les Journées de la flûte à bec in her player in high school. We had a wonderful focus of the next installment in this series. arrangements of George Gershwin music program, run by a fantastic teacher One of my students, a jazz bass player, tunes. Current projects include exploring and jazz musician named John Magruder, knows a fellow in New York City with whom contemporary works for recorder and who inspired me greatly and was very he has remained friends since high school. multiple percussion and studying jazz definitely one of my mentors. As well as being The friend is a jazz trombonist and recorder recorder through courses a high school music teacher, he was a jazz player who actually played recorder with at the Jazz School in Berkeley. sax/wind doubler (playing flutes and clar- Duke Ellington in the early 1970s, and his inets as well as saxophones) active in the activities will be the focus of a further install- Ms. Feldon studied recorder and Southern California jazz scene. He per- ment in the series. Baroque flute at Indiana University, where formed with notables such as Don Ellis, a Another of my students, an avid jazz she completed a Doctor of Music in great composer, bandleader and jazz innova- listener, knew about Eddie Marshall and collegium directing. She has taught at tor to whom I enjoyed listening. I also bought brought me one of his recordings. Since that Indiana University and UC Davis. records by jazz flutist Hubert Laws. time, everybody to whom I’ve talked who is In October 2004, she traveled to I was then, and now remain primarily, a knowledgeable about the topic of American Holland to conduct her Ellington classical musician. I was amazed by fellow jazz and pop recorder players has mentioned arrangements at the International students’ jazz compositions for our high Marshall. He is known and admired by Congress of Recorder Orchestras and school dance band, and was just generally several other players, including Joel Levine give a presentation on American wowed by the mystique and prowess of jazz and Pete Rose, who will be interviewed in yet jazz and pop recorder players. musicians. another installment of this series.
20 American Recorder Marshall is a drummer, recorder player, FF. Do you know of any other jazz recorder bandleader—and, as Dmitry Matheny wrote players? Everybody to whom for the San Francisco Jazz Festival, EM. There is a gentleman in San Francisco “a living legend of the San Francisco jazz who plays jazz recorder named Art I’ve talked who is scene. He has a resume that reads like a Maxwell, but there’s not very many. modern jazz honor roll, including long-term The first time I heard a recorder used in stints with Stan Getz, Bobby Hutcherson, a jazz recording was Keith Jarrett in the knowledgeable about the Toshiko Akiyoshi, and Bobby McFerrin, and ’60s, early ’70s. He’s playing piano and additional collaborations with the likes of some recorder. That was probably the on- topic of American jazz Freddie Hubbard, Jon Hendricks, Dexter ly other person I’d heard playing recorder. Gordon, and Rahsaan Roland Kirk. The Until about 25 years ago, I’d never even and pop recorder players winner of the first annual San Francisco, CA, heard another person playing the JAZZ Beacon Award in 2000 for his lifelong recorder. has mentioned Marshall. service to the Bay Area jazz community, Mr. I got the recorder as a gift when I was Marshall has dazzled audiences with his own 16. It was a tenor recorder, I’ll never forget ensembles, including the seminal jazz-fusion it—it was in the Montgomery Ward cata- band Fourth Way and his current group, logue, I think in 1953 or something like Holy Mischief.” that, and it was $35. My mom said I can Derek Richardson also wrote in Down have anything in the catalogue that was Beat: “If in the last [35] years a fan below $40. And I didn’t have any idea; I on the West Coast has missed seeing Eddie had a little penny whistle I used to play, Marshall behind a set of drums, it can’t be one of those little plastic ones. blamed on lack of opportunities. He has single-handedly done his part to keep jazz FF: No clothes, no shoes, nothing like that; alive and swing this side of the Rockies.” you went for the recorder. Dreams That Dance: A Suite, EM: No, no, no—and I’m a drummer; I’ve Marshall’s new composition in which he is been playing drums professionally since I featured on jazz recorder, had its world pre- was 14, with various family bands. miere at the November 2004 San Francisco Anyhow, I always wanted to play [the Jazz Festival at the San Francisco Museum of recorder]. There’s something about the Modern Art. The composition was created sound of flutes and woodwind instru- with generous support from Chamber Music ments, it’s just so calming to me. And America’s New Works Creation and Presen- when I got that tenor, I mean, it was such tation Program, and funded by the Doris a large stretch, I couldn’t even hardly play Duke Charitable Foundation. Marshall's it. In fact, it sat around for a year before I Holy Mischief Ensemble (Marshall on even touched it. I just thought totally, drums/recorder; Peter Barshay, bass; “Oh, this is not going to work.” Leonard Thompson, piano; Anthony Blea, But then I started playing it when I violin; Malecio Magdaluyo and John Santos, moved to New York City; I was 17 or 18. I percussion), next presents Dreams That was one of these guys [laughs] that was to- Dance: A Suite, at The Bach Society in tally dedicated to music, so I had no El Granada, CA on January 16, 4:30 p.m. friends. I just worked my little day job, I For ticket information, call 650-726-4143 or got off at five and I practiced my drums, visit
January 2005 21 When I got married, my wife was into piano for years before I played drums, so I The first time I heard Baroque music. I asked her, “What kind of had a sense of melody. My dad was a piano music do you like?” She said, “Well, I like player. a recorder used in a Vivaldi.” And I’d heard of Vivaldi, but not Playing the drums was just a kid thing for recorders, so I said, “OK, let’s get a to do. When my dad had rehearsals and jazz recording was couple of CDs,” and we got one—Frans there was a drummer, I would get on the Brüggen, I even have it with me, Frans drums as soon as the guy got off—as early Keith Jarrett in the Brüggen’s Italian Sonatas. Well, I was as 10 years old, I would do that—so by the despondent for about three years [laughs]. time I was 14, I had a pretty good hang of ’60s, early ’70s. I didn’t know you could play [recorder it. like that]. But I wasn’t really serious about music; I’ve always loved Mozart, and I was I was tired of taking piano lessons. I want- thinking he was like a big city writer, the ed to do something else. Drums were just Count Basie of his day. I mean his music a way to make a living when you’re 14, was so lively—it ‘s really urban music, I other than doing my paper route! feel. But this Baroque music, it’s like danc- [Laughs] As soon as I started playing the ing [sings rhythms]. Then you read the drums, the paper route was over. history of it—in fact, these people were I really got quite good; my dad was one really jamming. It was really like party of these people, if you played anything, music, it wasn’t staid at all. you had to take lessons. So even though I Frans Brüggen came to San Francisco, knew how to play drums, I had to take the way over 15 years ago. He played at Grace drum lessons. There was just no way Cathedral, just on soprano, he wouldn’t about it, which was good—because then, allow any amplification. You should have my last two years of high school, I had all heard it; it was just mind-blowing. And of these jobs from the union. course I went up and got his CDs. Oh, you had to join the union too; that And then I started going to all the was another thing my dad always stressed, Philharmonia [Baroque Orchestra] con- join the union. And they would have these certs with recorder—and who was there: auditions for bands going out on the road Marion Verbruggen. And that really got me with a play or something. I was only 16, Photo by Chela Shanti to study it. I went up to her [laughs]— but I knew how to read really well. So I I never do this, I’ve been in the presence of would always get these jobs—in the sum- Muhammed Ali, all those [cats], every- mer, you know, these tent shows [where] body; I did go up to Miles Davis because I I’m playing the drums in the band. Then I was on the same concert with him. But got really serious about it, and that’s when first of all, Marion’s playin’ Vivaldi and I moved to New York. Sammartini. She’s got on these leather pants, and she’s got this spiked hair, and FF: What do you think it is about recorder she’s standing there like this [demon- that allows you to express yourself differently strates]. She’s groovin’ like, “zaratatata” from drums? [sings syllables quick as machine gun EM: Well, first and mainly, because it’s a fire] and she’d whup these things, “dadid- melodic instrument; and secondly, dleup-dadiddleup-datakalalup” [again]. because jazz is based on improvising. I She’s so rockin’, I mean movin’ like this— travel a lot, so if I’m stuck in the hotel in classical music; it just blew my mind. room, for instance, and I can’t practice my She’d probably remember me, I was the drums—maybe I’ll take a pair of sticks only black person at all those concerts. I and practice on a pillow, or something like asked her, “Do you do all this [with] triple that. But with recorder, I can play it any- tonguing?” ’Cause I wanted to know. Her where. I take it with me everywhere. I have fingers move so fast! two in my car, so if I’m stuck in traffic, I just play my recorder. FF: Let’s get back to you. You’re also a fabu- I like [being able to do] that, and I lous drummer. What is it that’s so special developed a sound [in the hotel room]. about the recorder for you, and what is it This is how I developed a sound— about the recorder that’s distinctive from because, not knowing how a recorder was drums and serves your musical voice? supposed to sound, I tried to make it EM: See, I started composing music really sound more like a flute. In the hotel room, early. I was always encouraged by my band I’d find a corner. [Picks up recorder and members, whatever serious band I was in. plays some improvised jazz riffs.] So [playing recorder] was for writing But the thing is, I developed this tone music. I could just pick out tunes. I played that’s not a purely recorder tone, because
22 American Recorder there’s a lot of air in my tone; it’s like the this—a lot of people will get recorder and “shhh”— there’s that thing going. But I’ll acoustic guitar, so I’d play a lot of stan- This recorder, the sound tell you one thing—Marion, if I could get dards [on recorder]. I’ve always known a that tone! Her sound is strong and lot of standards, age-appropriate stan- is so close to you. clear…. [But] you can’t just ask people. I dards [laughs]—anything by Cole Porter would have to buy her dinner, I would or Gershwin, anything by Big D [Duke On the piano, have taken her to lunch, anything Ellington], or any of the other American [laughs]. I hadn’t really ever felt [so in awe writers, I know. And I play a little bit and it’s coming from of] a person before, to tell you the truth. improvise on it, so basically that’s the mu- sic I play [on recorder] in public. somewhere else. FF: Here’s a comment that I hope will make I use the recorder mainly for compos- you feel really good: your improvisation, ing. I can play the piano up to a point, Even on my drums, facility and sense of what you can do is enough to put the chords down and stuff impressively facile and complicated. like that, but I can’t sustain a melody. I it’s coming from EM: The thing is, I’ve [always] played jazz can’t go: [picks up his recorder and plays music; jazz music is complicated enough lovely improvised jazz tune]. On the over there somewhere. anyhow. I mean, the fact that you stay with piano, you know, I’d go: “da-da, da-da, da- an instrument—I was always totally aware da” [sings]—and then I’d make a mistake. of the limitations of the recorder, or what I Making up melodies [on the recorder], then thought were its “so-called” limita- it’s so close to you; this recorder, the tions. It’s easy for jazz players to say, sound is so close to you. “Well, you know these instruments, On the piano, it’s coming from they’re difficult to play.” somewhere else. Even on my drums, it’s Most of the [jazz] concerts are in E coming from over there somewhere. [The major, or maybe they’re in a specific scale. recorder sound] feels like it’s going right A pop song maybe involves two or four through my jaw and everything, right to chords, and at least three or four scales. my ear. But that’s just an excuse that we jazz mu- That’s another thing; the recorder is fa- sicians use for the fact that all classical mous for being out of pitch. You can players can play everything in every key. I overblow it [easily], you have to blow it mean, they can play their scales. That’s all really [carefully]. I have some recorders you really, really need, I feel. that are really flat, and I can’t adjust them. For most jazz musicians, we study clas- This one is a really good one, a friend sical music so we can first learn the instru- sold me this; it’s a French recorder, and I ment, and then learn the scales, learn how got it a couple of years ago. I’m still [get- to facilitate yourself with this instrument. ting used to it]. [Plays] What you do with that, it’s a personal mat- This is pretty good, but some of them, ter, but [that’s] the least you should you have to really concentrate to play it on have… pitch, especially when you start really go- But then pop music is another world— ing. [Plays fast passage.] It’s really hard to it’s basically like folk music, like my get that low F. [To demonstrate, plays low grandfather played. My grandfather F again with lots of chiff for accent; and played guitar, what he called the blues, but then, beginning with a minor harmonic it was primitive, primitive! But he didn’t flourish upwards, keeps going with more have to go to school to learn how to play! fast finger work, doing a short riff that [Laughs] There were certain things you starts to go around the circle of fifths and played, you know. In a way, it was sort of then stops.] Everything is really difficult limited, you would think—but boy oh with this thing [laughs]. boy, it was the growth of great music. FF: Are you thinking of any particular FF: I’ve been listening to this fellow named syllables when you’re tonguing, or do you just Terry Kirkman, who played with The do it? Association (the rock group known for their EM: No, I just do it, and I do it so often— close-harmony singing and original sym- I really, really listen. [Plays slurred chro- phonic-like arrangements in the mid-1960s). matic mordent-like passage over three He played recorder on some of their big hits, turns of circle of fifth chords, then plays like Along Comes Mary—it’s very folk-like, same passage staccato] I know I don’t very modal, but I love it, it’s fantastic. want that. [Demonstrates same passage EM: I suddenly got discouraged, playing legato] A lot of it’s just repetition, doing it in public. I play at weddings and stuff like over and over.
January 2005 23 FF: Do you think at all vocally—like what it. It would get a sound, but it would just I was just thinking, the first recorder I you might do if you were scatting, but just be too “in your face,” and then you could got was called a Golson recorder from the doing that into the recorder? actually hear this going [demonstrates the Montgomery Ward catalogue. Twenty EM: If I scat something, it’s not really true soft popping sound of fingers moving up years ago, I put a pickup on it, [which pitch. I’ve never been able to, like, be on a and down on recorder tone holes]. changed its acoustics] and I lost [the low bicycle ride and hum [a melody], and be I did all kinds of things. I did a job with C]; it was really annoying. able to get back home and write it down. If Madeleine Eastman, she’s a great jazz I just sit in a room and just practice a scale singer that lives around here. I played FF: Do you ever find that your instruments or something [riffs on scale]—I’ll do all recorder. We did this Brazilian tune, and I clog up too quickly, and what do you do? the scales in triplets maybe [same scale in played on it, and I figured, “OK, if I have to EM: Oh, yeah, I always bring two or three triplets, leading into lovely melody]. So if do it, I’m just going to do it with a regular different instruments with me. I made my I just went home, I’d say, “OK, where mic.” Now, with my sophisticated self— own little stand. My favorite instrument is can that go to?” and it would involve the I didn’t have enough money to buy a mi- a recorder that my mother-in-law gave me piano. crophone like she had, it cost three or four 25 years ago, and she had it for a long time. See, already I can hear 10,000 things hundred dollars—I bought this little pow- It’s got the most beautiful tone to it—oh, going on [laughs], because then it moves er amplifier, and a directional mic. I stand my God, but it gets wet, and I can only to another feeling [plays more energetic, maybe this far away from it [demon- play, like, two songs. Then it gets so wet, it rhythmic, dotted passage] or some little strates]; then I have it going through my loses notes in the upper register. But boy, figure like that. Usually that’s what you tiny little reverb [amplifier], and it sounds for those first two songs! It might be an old do. great, the best sound I’ve gotten so far. Hohner. I have computers and everything [for Especially for weddings and stuff like writing music]. [Laughs] Sometimes if that, it’s soft. Basically, you’re sort of a FF: You’ve said the only other jazz recorder you’re just sitting at the piano, and you prisoner to your venue with the recorder. If player you’re aware of is Keith Jarrett. run this chord progression—we all rein- you can get into a nice place, inside [with] EM: Do you know Art Maxwell? Art vent the wheel, let’s face it. But harmony is a big sound—I played one time in Grace Maxwell is one of the characters on this so vast, and rhythm is so vast, you can al- Cathedral. It was one of the first jazz musical scene. Art is a saxophonist, and he ways come up with a little rhythmic twist, festival things, Herbie Lewis, myself, a has a saxophone quartet that he leads, but or harmonic twist, or a melodic twist, and bass player who used to live here. We he also plays recorder and shakuhachi. We you put in the time frames. It’s just a won- didn’t have any amplification, and man! worked together over the years. He’s just a derful thing. It keeps you young for a long, People were really quiet too; it was really real good friend; he started being my long time [laughs]. something. friend because he’s a bicycle repairman, too. I met him as a bicycle repairman, and FF: Speaking of little twists, have you ever then we talked about playing the recorder. had any special experiences on the recorder? Basically, you’re sort of We get together sometimes and play EM: [Laughs] Always a special experience! bebop music [high-energy, fast-tempo jazz The main special one, the first thing, is not a prisoner to your venue popular in the 1940s] on the recorder. hearing yourself. I finally think I’ve solved [He’s also an] excellent saxophone and [that], not being able to hear myself— with the recorder. flute player. In fact, if I get another grant— because I like to play with jazz groups, I I’m doing a grant now that’s going to fea- will sit in someplace and play. [When you FF: With a stationary microphone, you ture some recorder music—but if I get an- can’t hear yourself] you tend to overblow. really are a prisoner, because you can’t move other one, Art’s going to be on it with me. It’s a different thing; sometimes I think around. He has a bass recorder. He’s just a real I’ll know a song, it’ll be a song that I’ve EM: You are! I know—when I’m playing a collector and everything, and he knows heard since I was a kid. I think I’ll know it, solo and I can’t help but move around. So how to play them and reads real well too. but don’t really know it. It’s not like I’m my little speaker that I have guides me playing the drums, now I’m playing the in—because I just have it mainly for FF: At the time when we’re talking, you’re melody. I’m just so conscious of the myself, and I can feel when [the sound’s] getting ready for your date [on November 4, melodies now. The worst thing that can going out. 2004] at the San Francisco Museum of happen is if I just blow a melody. The I’ll tell you one thing: being a drum- Modern Art, which will feature your grant- improvising I can do—it’s probably the mer, everything’s always moving around supported composition featuring recorder in easiest part, just making things up. at the same time. To me, it’s a great chal- a jazz chamber music sound, during the San And another thing—never play lenge just to stand there—not even tap my Francisco Jazz Festival. Tell us about that. without warming up, have this thing foot, just put all my energy into it. And it EM: I’ve written some music for ’cello, warmed up! That’s embarrassing! works better for me every time too. violin, recorder and piano. A lot of the songs I’m going to use on this concert start FF: Here’s a question I’m dying to ask you: FF: I’ve tried one of those clarinet mics that off with that format and then build into a how do you deal with recorder and micro- you can clamp on, and it has a flexible arm. quintet, and they’re all original tunes. phones? It’s still not ideal. I just like that concept. EM: I did everything! Oh man, I’ve done EM: I just like this thing to be free. I’m sure Another concept I like is something I everything! I even went and bought a little there are microphones out there, but heard on the radio, some Vivaldi with flute contact mic. First of all, I didn’t want it to you’re going to have to pay. and recorder. And so the concert is going touch my recorder, so I had to put tape on to have some of that.
24 American Recorder Some of them are romantic songs, Well, the first thing I would have to they’re not bebop songs. Well, my roots have would be a Miles Davis CD. I like the are bebop—you know, I’m a jazz musician ones with [jazz drummer] Tony Williams and bebop is the music that propels me; in on Columbia Records—Gingerbread Man, a sense, that’s my roots. There are reflec- they had all the ultra-post-bebop tunes. tions involving the family, the grandkids, Then I’d probably have to have some just life in general, and travels. kind of Vivaldi. I would have to have that, It’s going to be like a little suite in three because I’d have a recorder with me too— parts. I’m looking forward to it. I keep on that would be my only instrument. changing everything—I’ve got to stick to Then I’d have to have this African the score. Every time I write the parts, drumming CD that’s called African Drum- I have this guy doing a little bit more. mers from Senegal. Barunga hange is the Almost all these songs, the genesis is name of the style, and, what it is, it’s an from the recorder. In the past I would write African drummer who straddles three the songs, and then sequence them [on large conga-like drums, and has bells on computer]. These songs [take their] gene- his ankles, and he plays for the dancers. sis from the recorder. When I start these He plays all these rhythms for the dancers songs, it’s just a melody, and then I add all and the dancers improvise. It is cool! the other stuff with the sequencers. I start That’d be it. putting in the ’cello [sings]—“Holy smokes, that sounds pretty good.” And FF: Do you think that the recorder has any then I put in a violin part, and it doesn’t special characteristics that lend it particular- sound like a violin per se—but I’ve had ly well to jazz? violinists play the parts, and they know EM: It’s not powerful enough to be a real how to make it sound like a violin! effective jazz instrument—unless you am- [Laughs] It just really works. plify it. I wish I had that blinding technique Now I’ve got some great things that like Marion has; I’d write all this fusion I’ve done with the recorder in my studio stuff, you know! I play the melodies on the where I can control the dynamic levels, recorder. Even when I’m playing the some funk tunes. It is a unique sound; bal- recorder—in the past, I was writing for a lads and sambas, it’s really effective. jazz quintet—I have a good idea how my I play this real high energy music with band is going to sound. my band, and, every once in a while, I’ll [Composing] was the reason for it, get [on recorder] with the bass player and not to perform with recorder. But then I we’ll play a little ballad. It really calms peo- started getting a better sound on ple down, I mean, it’s really quite amaz- recorder—what I thought was a better ing. That’s why I get a lot of these wedding sound—and I figured I could blend with gigs. They contact my agent, my wonder- other people. Do you compose? ful wife. I set up with a guitar player or a bass player in the corner where these FF: No, but I’ve done arranging for recorder. guests are arriving for some high-falutin’ I’ve recently arranged some Gershwin and party or something, and just play. And Ellington tunes for recorder orchestra, and they say, “Oh, that’s so wonderful!” they sound great! It sounds like a little pipe It’s getting so I’m thinking about quit- organ. ting the drums! Truly! I mean, I’m 66; EM: When I get through being busy, get in I have a bad back now; I have to start touch with me. thinking [laughs]. At some point, it going It’s getting so to start to get really too hard to carry the FF: Will that ever be? drums, it really is. I’m thinking about EM: Oh yeah, see, I’m on a big schedule quitting the drums!... now, probably until the end of the year. FF: That would be a shame, because you’re Then, you know, it slows down, and it’s such a great drummer. I figure, if I can spend going to stay slowed down too. I really just EM: Well, I love it too. I have kids that as much time playing want to do this [composing and recorder]. play, and, you know, they can be the great drummers [next] time. the recorder as I FF: I’m going to ask you the [Bay Area all- jazz radio station] KCSM “desert island” FF: So do you think you’ll switch over to have the drums, question, which is: If you were stranded on a recorder—of necessity? boy, I’d really get desert island, what three recordings would EM: Oh, I’m looking forward to it! I figure, you choose to have with you? if I can spend as much time playing the somewhere with EM: That’s a hard question! There’s so recorder as I have the drums, boy, I’d this thing! much music. really get somewhere with this thing!
January 2005 25 BOOK
______REVIEWS ______Francesca Caccini and the monodic style
FRANCESCA CACCINI’S IL PRIMO the new monodic style (the style devel- analysis as well as an English translation, LIBRO DELLE MUSICHE OF 1618: oped c.1600 as a reaction against 16th- and there is a detailed bibliography. A MODERN CRITICAL EDITION OF century polyphony; often an accompa- While the introduction provides quite THE SECULAR MONODIES. nied solo with figured bass accompani- a bit of information, there is surprisingly ED. RONALD JAMES ALEXANDER AND ment, which later developed into trio little detail given concerning the idiomatic RICHARD SAVINO. Indiana University Press, sonatas in instrumental music). performance of the ornaments that are so 2004. 96 pp. Softcover, $24.95. The most sophisticated pieces, arie central to the monodic style. Instead, the ISBN 0253211395. and madrigali, come first in the collection. reader is referred to the preface of Giulio Francesca Caccini was the daughter of They are typical of the best of the monod- Caccini’s ground-breaking collection, Giulio Caccini, one of the most important ic style made famous by Francesca’s father, Le nuove musiche. figures in the formation of the early featuring first-rate poetry set to music that Similarly, there is much useful infor- Baroque style. She began her career per- is flexibly molded to the text and en- mation concerning the identity of the forming with her parents and siblings in a livened by virtuosic, but highly expressive, most appropriate continuo instruments, family ensemble, but soon made a name ornamental figures—the whole accompa- but the continuo lines themselves are un- for herself as a solo singer and performer nied by a sturdy and supportive continuo realized. While specialists will not be trou- on various continuo instruments. line. Several canzonettas at the end of the bled by these omissions, this wonderful Her talent for writing both poetry and collection are in a lighter, more dancing music might find even more performances music was also widely admired. She was musical vein, but are also carefully adapt- if the extra information were provided. eventually commissioned to compose ed to their texts. As well, this edition presents only the stage works for the Medici court, includ- This edition was prepared by secular pieces from the collection, about ing two operas. well-known guitarist and lutenist Richard half of the whole work. Let us hope that The music published here comes from Savino, completing work begun by his the sacred music might soon also be made a book of miscellaneous vocal works by doctoral student, Ronald James Alexan- available in such a careful modern edition. Caccini that features pieces in several der, who died tragically in 1990 at the age While this is, first and foremost, music compositional genres for one and two of 28. Along with the music itself, the for the voice, recorder players may find it voices with continuo. The editor’s note edition includes an extensive introduction an interesting exercise to attempt to cap- that this collection was one of the largest giving information about Caccini and ture some of the colors of the original, or to have been published to that date— about the original print, as well as sugges- simply to enjoy the more straightforward consisting, as it does, of 17 secular pieces tions regarding performance practice. The little canzonetta pieces. and 19 sacred works—that was devoted to texts are presented with a brief stylistic Scott Paterson
26 American Recorder ON THE CUTTING EDGE ______Important recorder music from Steve Reich
hope most readers of this magazine the soloist, with the remaining parts It has become a musical cliché to lump I were as thrilled as I was to read (on page played on pre-recorded tape, also by Wil- Reich with his fellow American composers 5 of the September 2004 issue of AR) son. Although all of the parts can be Philip Glass and John Adams as about Reine-Marie Verhagen’s arrange- played “live” by a flute ensemble, Reich minimalists. In truth, the real American ment for recorders of Steve Reich’s Ver- has expressed a preference for the soloist minimalists—if we take that term to mean mont Counterpoint. I have recently learned and tape format. reducing music to its bare essentials—are from the New York office of Reich’s pub- The composer has written of Vermont La Monte Young, Alvin Lucier, and their lishers, Boosey & Hawkes, that the Counterpoint: “The live soloist participates followers. Minimalism is a form of recorder arrangement will be published in in the ongoing counterpoint as well as conceptualism: it connotes a lack of devel- February 2005. Entitled Hague/Vermont more extended melodies. The piece could opment, and absence of the basic music Counterpoint, it is also available on rental be performed by 11 flutists but is intend- parameters of harmony, rhythm, counter- from Boosey & Hawkes. The publisher’s ed primarily as a solo with tape. Though point and structure. web site is
January 2005 27 recordings of his pieces. Among my fa- 2EHUOLQ&RQVHUYDWRU\RI0XVLF vorites are Octet (1979), Tehillim (1981), the sublime Music for 18 Musicians (1976), SUHVHQWVWKHWK and Different Trains (1988). Realizing that conventional orchestras and chamber en- %DURTXH3HUIRUPDQFH,QVWLWXWH sembles are not ideal for the unique sound world of his pieces, Reich has for many -XQH-XO\ years performed his music with his excel- ´7KH)UHQFK&RQQHFWLRQ lent ensemble, Steve Reich and Musicians. Other ensembles have taken up his music *DOOLF0XVLFDO,QÁXHQFHV in recent years, but, to my ears, the per- formances by his own ensemble are the 7KURXJKRXW(XURSHµ most satisfying, particularly the early ones on the ECM record label. .HQQHWK6ORZLN$UWLVWLF'LUHFWRU Recent works include a music and ZLWKWKH 2EHUOLQ%DURTXH(QVHPEOH video work, Three Tales (2002), and Dance Patterns (2002) for two xylophones, two 0LFKDHO/\QQUHFRUGHU WUDYHUVR &DWKDULQD0HLQWV YLRO FHOOR vibraphones and piano. Reich’s current /LVD*RRGH&UDZIRUGKDUSVLFKRUG record label, Nonesuch, has issued an ZLWKJXHVWYLROLQLVW6WDQOH\5LWFKLH extraordinary 10-CD set entitled Steve Reich: Works 1965-1995. DQLQWHUQDWLRQDOIDFXOW\LQFOXGLQJ Although he has spawned imitators, &KULVWRSKHU.UXHJHU ÁXWH *RQ]DOR5XL] RERH particularly among young composers both -XOLH$QGULMHVNL EDURTXHGDQFH here and abroad, no one does what he does nearly so well. It is entertaining, ZZZREHUOLQHGXFRQVXPPHUESL invigorating, and often deeply moving &RQVHUYDWRU\RI0XVLF:HVW&ROOHJH6W2EHUOLQ2+ music—and now it is part of the recorder world. Tim Broege
28 American Recorder RESPONSE ______More on adding a lutenist to a recorder ensemble, and ______judging recorders on an historical basis
Thoughts about Judging Recorders A really good player is always adjusting sound better without pops and clicks be- One way to evaluate recorders could be the degree to which personal artistry and tween notes and registers. Every man was simply to say, “This I like, that I don’t.” control inhibit the instrument’s intrinsic a virtuoso, but with a dramatic feeling that A more nuanced approach might be to character, varying the dynamic relation goes back to laude, and through ricercare explore the fortes and faibles of various between these two elements of music; and madrigals. instruments in various musical contexts. thus, a recorder’s ability to give and take is French music was more sensual, with a Here, I’ll consider historical contexts, how another consideration. deeper diapason. It had a more formal early music probably sounded, and the structure, and related more to corporal implications for choosing appropriate A really good player is movement, which unappreciators heard instruments. as formulaic dance patterns. The French I hope that even in subjective lapses, always adjusting the themselves heard vigor, and probably my opinions can at least stimulate a more degree to which personal enjoyed the image of a virile gentilhomme satisfyingly intimate realization of rela- with an erect viol between his legs. When tions among music, instruments, and artistry and control not downright vigorous, the music could players. inhibit the instrument’s be majestic, plaintive, or gaie, but always The keynote of Baroque music was with a strong character, and within the dramatic, personal expression—the intrinsic character.... limits of le bon goût. reaction of an individual to events that These characters can be admixed in form a coherent narrative. So you might Most Baroque music lay on, or just off, varying tinctures, and the genius of judge an instrument by the role it could a Franco-Italian axis. Italians were famous French music seems to be in the precise play in music. for the extravagance of their personal ex- expression of the variety of such confec- Recorders were mostly minor figures in pression, and most instruments played tions. Rather than presenting a varied dra- greater dramas, and only in minor works roles more suited to a histrion than to the ma, French music shows the mixtures, received top billing. The basic character of subtle jugglers of ambivalence in today’s sometimes odd and bizarre, of humors a recorder’s sound is innocence—a tone theater. From the evidence of harpsi- and human temperaments. The French easily produced, without much effort, and chords, high pitch, and an early preference don’t fear paradox, and are commonly simple in its attack. The ungenerous for small numbers of voices in counter- weaned on logical contradiction. And the might say “too easily educed,” like the point, Italian music probably had a bright, music is sensual, in timbre and in move- smile of Browning’s Last Duchess, and sug- incisive sound. “React swiftly, react ment. They kept the noble plaintiveness of gest that “simple” refers to a lack of wit. strongly, and tell a story” might be the the viol long after the rest of Europe took This character can be disguised, and Italian motto. An instrument should imi- up fiddling, and danced their way through even largely suppressed, in both making tate vocal effects with flexibility of dynam- even serious operas. A good proving and playing recorders, but it’s been long ics, tone-color, and attack. The violin was ground for a French instrument might be felt that innocence and simplicity can the solo instrument, and Alberti figures a run around the mock mockery of 16th heighten both religious and amorous ex- perience. Sophisticated wit counts for lit- tle in moments of truth with either God or OOLS TO MPROVE OUR LAYING lovers. So a recorder can connect the spir- itual and the carnal in ways explicitly un- $ANCE AT A 'LANCE "AROQUE #HAMBER -USIC speakable, to show the heavenliness of ro- !LL YOU NEED TO KNOW ABOUT "AROQUE 0LAY !LONG #$S mantic love and the humanity of God. DANCE IN ONE CONVENIENT PACKAGE (OURS OF PLAYING ENJOYMENT WITH EARLY MUSIC SPECIALISTS Such a theologically sophisticated instru- *JHI TURN THE DIAL OF THE WHEEL GUIDE TO ment after all! THE DANCE YOU ARE STUDYING TO LEARN ITS 4=G:: TO CHOOSE FROM WITH MUSIC AND METER TEMPO RHYTHM AND AFFECT 4HIS PERFORMANCE GUIDES FOR RECORDER PLAYERS The “pure” tone of a recorder can actu- PACKAGE INCLUDES 6ISIT OUR WEBSITE FOR COMPLETE CONTENTS ally be quite complex (with organized s (ANDY WHEEL GUIDE 0RE($ISC#ONTINUO “noise” that’s musically important, while s )NFORMATIVE BOOKLET %ARLY )NTERMEDIATE defying analysis)—so, as the simple pipe s #$ WITH MUSIC EXAMPLES of a simple rustic, it can play a Figaro-like 4HE $ISC#ONTINUO )NTERMEDIATE role in subverting the recognized social or- der, by showing the rich, but muted, tim- $ISC#ONTINUO )) bre of the lowly. It may not be obvious how / !DVANCED )NTERMEDIATE 6ISIT OUR WEBSITE AT WWWKATASTROPHEMUSICCOM to realize these roles in music, but as on 4O ORDER POSTPAID SEND CHECKS $ANCE AT A 'LANCE WITH 89 WITHOUT 89 $ISC#ONTINUO SERIES EACH the stage, deep and thorough conviction PLUS H = CHARGES FOR lRST ITEM EACH ADDITIONAL ITEM TO will usually win out. @6IAROE=: G:8DG9H &LORIO 3TREET /AKLAND #! OR CALL
January 2005 29 century voix de ville, the agréments à gogo (divided into the expansive diastolic, and of Hotteterre’s Musette method, and the contracting systolic ethoi) and through affective sung dances of L’Affillard’s Très catharsis purge their excesses. Integer vita faciles principes. (“whole life”), sprezzatura (“cool dis- German music borrowed extensively dain”), and musica reservata (just what was from Italian and French, but it’s hard to reserved or on reserve?) may touch on the say how deep, as well as broad, that bor- notion of one’s proper self and balance. So rowing was. Did they imitate the light, vig- a Renaissance recorder needs to take you orous poise of the French (the superficial through variations of the four humors, polish that permits a view within) or the and, with an overall grace of sound, get frenetic reactivity of Italians? To what you back to sanity. extent did they add good German Of course it does all this, powerful har- substance (far be it from me to say “heavi- mony and Samsonite (“out of the strong ness”) to these foreign tastes that were came the sweet”) ethos, in ensembles (just disdained while being envied and ad- as even Baroque instruments should react mired? Did Telemann hear his A [minor] strongly with other sounds). With the suite as real French music—or, as is the arrival of the contenance angloise came a modern tradition, with little to do with couple generations of rather lyrical, but French style and the movements’ titles? not very text-sensitive, music in France. I see “sincerity” as the main feature of Then came Josquin and the boys, with German culture (despite there being no an age of fast, virtuosic music full of lots of really equivalent German word), so a notes and bouncy syncopations that often German recorder, besides having both (or seem at odds with sad texts (a hesychastic neither) French and Italian qualities, and [silently, mystically prayerful] mayonnaise easy top notes, might have a menschliche of the immiscible systole and diastole?). voice, with lots of Herz and Seele. Then, towards the middle of the 16th English music might be like the century, music became slower again, and German, but largely unburdened by the words more important. So more and “soul” and “sincerity,” and with fewer de- more, through the second half of the 16th mands on upper notes: a little French, a century, recorders playing madrigals, etc., little Italian, with Scots and Irish to taste. need to express text, the sounds, syntax, Renaissance music was more interna- and meaning of words, and some of the tionally uniform, but with variants at the earlier qualities may need to be sacrificed. fringes of time and place. There was a har- You may need a gentle, noiseless attack on monic revolution in the early to mid-15th upper notes more than the powerful century—the contenance angloise, coming sound and sense of ethos that are often from Britain, home of harmony, to France. incompatible with it. The general sound of this harmony—rich Back to the fringes, there’s mention in in thirds and sixths, with sparing use of the Renaissance of church and chamber dissonance—lasted well into the 17th voices—the latter more expressively mod- century. It arrived later and less thorough- ulated, the former ringingly space-filling. ly in Italy and Spain, and started earlier in Some Italian and Spanish music well into Britain. the 16th century seems to benefit from “Renaissance ” recorders seem to have this “church” sound, which may be a rem- been made to exploit this sound to a pow- nant of earlier Medieval sonorities. In erful effect. recorders, this seems best heard from A secondary criterion is ethos, or char- cylindrical bores, which are commonly acter. There’s little evidence that the thought of as “Medieval.” Knowing almost Renaissance sought excitement in music, nothing about Medieval styles of sound although many movements are thrillingly and playing, we can’t say much more than spine-cracking; perhaps normal life was such recorders should make strong, clear exciting enough. Music’s job was to put harmony in early laude, etc. For playing people back together again after being torn dances and in oddly mixed ensembles, it’s apart by life’s hurly-burly, the humors set anyone’s guess, although noisy, breathy again in balance, the hesychastic, calm “folk” flutes seem more interesting. ethos restored. About “Ganassi” recorders, there’s lit- Music could exercise the humors tle to say except they should roughly fol- low his fingerings and shape, and stick to Responses from our readers are welcomed and may music roughly of his time. The design be sent to American Recorder, 7770 South High St., seems closer in timbre to earlier “cylindri- Centennial, CO 80122. Letters may be edited for length and consistency. cal” flutes, with their “harder,” clearer sound, than to later ones, but what, if any,
30 American Recorder Bransle double 1
Michael Praetorius
descant recorder # 4 œ œœ œ œ œ œ œ œ œ œ œ & 4 œ œ œ œ œ œ œœ œ œ œœ œ œ œ œ œ œ œœœœ œ œ œ œœ treble recorder # œœœ œœœ œ œ œ œ œ œ œ œœœ V 4 tenor recorder # 4 œ œ œ œ œ œ V 4 œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ bass recorder ? # 4 œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œœœ
lute ? # 4 œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œœœ
T a lute A cbc c e a c a c e ca a c B e c e
4 # œ œ œ œ œœœ œ œœœ œœœœœ œœœœœ œ œ œ œ œœœ œ œ œ œ & œ œœ œœœœœœœ #œ œœ œ œœœ œœœœ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œœœœ V # œ œ œ œ œ œœ œ œ œ œ œ œ œœœ V œ œ œœœ œ œ œ œ œ #œ œœœ#œ. œ œ œ œ œ œ œ œ ? # œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ ? # œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œœ
4
a a a c c c c c b c c c e a c c c c bc c c c e c e a c c a a a c e a proper use they had is not evident. A wide Intabulation using Finale range of 15th- to 16th-century “solo” mu- Pursuant to the question about adding a sic (and frottole) might be their bailiwick. lute to your consort [in the November Not many people and cultures think of 2004 Q&A column in AR]: themselves as “transitional,” yet the [The music software] Finale makes it Honeysuckle Music term is applied to recorders for relatively easy to add a tablature part for early-17th century music, as if they were lute once you have a piece in a Finale file. Recorders & accessories holding their breath for what we call the Just create a lute staff with the Staff Setup ... high Baroque to begin. Frescobaldi as a Wizard, then drag mensural notation to “transitional” composer? the tablature staff with the Edit tool. Finale Music for recorders & viols Music of that time needs a certain automatically makes the mensural nota- Jean Allison Olson “flexibility,” but perhaps a clearer “Italian” tion into TAB. 1604 Portland Ave. tone than the coy, covered sensuality of A couple of caveats: St. Paul, MN 55104 the later Baroque. Early Italian organs of- 1) Make sure the staff is notated at the 651.644.8545 ten had less complex and varied stops pitch you want the lute to play in. A lot of [email protected] than their northern cousins, sometimes recorder consort music is notated an just the same timbre repeated at various octave high. pitch levels—that bright, strong “church” 2) You may need to halve the time sig- Finale is a bit grumpy about doing all voice. And a Baroque violin can have a nature so the stems will work out for the this, as it is with everything else. But with hard, pure sound in Italian music. lutenist. Do that with the Change menu a little experimentation it’s not too hard to A recorder as an instrument for music under the Edit Tool. pull it off. And the result is beautiful. per se may not be the same tool as for I’ve shown an example [see Praetorius By the way, you probably know that personal projection or introspective piece above]. Dowland published his lute songs in satisfaction. Its best test is in a musical And how do you get your consort piece settings for four voices (SATB) and lute. If context, what it does making music, and into Finale notation? Finale allows you to one has a lutenist good enough to play how it contributes to an overall sound and scan printed music and convert it to Finale Dowland, those songs can be played with impression. files with SmartMusic OCR software. lute and consort or lute and solo recorder. Bob Marvin, Eustis, ME Bill Long, St. Charles, MO
January 2005 31 Q & A ______Copyright law and recorder players
uestion: I am a beginning music teacher league once informed me that he some- There is a general misconception in the Qand would like some information about times copied selections from my own pub- early music community that it is permissi- copyright laws. Would it be permissible for me lished collections for use by his local ARS ble to copy up to 10% of any published to make photocopies of a few lessons from a chapter. I (politely, I hope) commented material for “educational purposes.” published method book for the students in my Using this standard, some teachers photo- recorder class? Would it be permissible for me There is a general copy significant portions of collections for to copy one or two dances out of a published their students or ensembles. It is not legal collection for the ensemble I am coaching? misconception ... that to copy any “performable unit,” such as a —J. L., Cumberland, MD it is permissible to piece from an anthology or a movement of a larger work, but you may copy brief por- nswer from Eric Haas: It is not permis- copy up to 10% of any tions for illustrative purposes as long as Asible to copy any copyrighted material published material for they don’t constitute a performable unit. for someone else’s use. You may not copy “educational purposes.” You may make copies of music for even portions of a published recorder public performance so long as you have method for classroom use, not even the sufficient performing material on order fingering chart. However, you may print that he was violating copyright laws and from the copyright holder for each per- out any fingering chart posted online offered to give him permission to make the former. Temporary copies should be (such as the ones on the Dolmetsch web copies he needed for a nominal fee. marked, “Authorized copy: music on or- site) for your class. You can always ask, but when class- der from copyright holder.” When the Hardly a week goes by that a customer room recorder methods are available for as printed materials are in hand, the photo- at the Von Huene Workshop doesn’t say to little as $3.50 each, it is unlikely the pub- copies must be destroyed. You may not me, “Oh, I only need one copy. I’ll Xerox it lisher will give you permission to make purchase one set of parts or one score and for my friend.” A good friend and col- copies. make multiple copies, and you may not make photocopies because the music is too expensive. If music is out of print, you should first R contact the copyright holder (usually the publisher) to see if an authorized copy can be provided. You may photocopy music E that is out of print as long as you have made a “reasonable effort” to obtain the music legally from the copyright holder. C (If the copyright holder has not responded to your initial request after a month, try contacting him/her again. If there is still no O response after the second attempt, you should be able to copy the music.) There is a detailed FAQ about R copyright issues on the Music Publishers Association web site,
32 American Recorder MUSIC REVIEWS ______Relaxing after a busy day, rock and jazz recorder, ______recorders with organ, violin or voice
LATE PLEASURES–SERENADE FOR pated rhythms creating entertaining tensions and releases, the music paints SOPRANO RECORDER AND VIOLIN rhythmic interplay, some parallel seconds this picture nicely. The piece ends on a (2001), BY RONALD J. AUTENRIETH. Moeck and good old-fashioned parallel thirds, consonant G major chord—the final ZFS 742 (Magnamusic), 2001. S rec and plus some use of harmonics in the violin release of tension! violin. Sc 6 pp. $7. part. The composer Ronald Joachim Auten- This piece, although not technically TRIPLE FIPPLE, BY ALAN BULLARD. rieth (born 1959) has participated in difficult for the recorder player or the vio- Peacock Press P30 (Provincetown Book- many musical roles—as German music linist, is targeted towards fairly advanced shop), 1998. ATB. Sc 7 pp, pts 2 pp each. teacher, critic, church musician and com- music students because of its musical Price $6.95. Note: This piece can also be poser. He has composed/arranged pieces demands. For the recorder player, there purchased scored for SAT recs at a price of $7.35. for organ, choir and piano as well as a large are slurred cantabile lines involving fairly Alan Bullard was born in London in number of works for recorder. His output wide intervals, and at the opposite end of 1947 and studied with Herbert Howells at includes easier music for amateurs as well the spectrum there is an extended stac- the Royal College of Music and with as popular music. catissimo passage (an extreme form of very Arnold Whittall at Nottingham University. Since I am both a violinist and a detached staccato). While the notes are For over 20 years, he has lived in recorder player, I was delighted to receive simple, the slurs and the rapid staccatissi- Colchester, Essex, where he is Head of this piece for review. I played both parts mos are difficult to play with style, and Composition at Colchester Institute. onto a digital multi-track recorder so that require a player who has progressed As a composer he is prolific and I would hear the piece with its intended beyond simply being able to play the right wide-ranging, having written in most orchestration. I was pleasantly surprised notes. genres for both amateurs and by how much I enjoyed the final product. The violinist also has very easy notes; professionals. For a complete list of Late Pleasures has three movements in fact, this piece leaves the first position his compositions, see
January 2005 33 Triple Fipple is a light jazzy piece with precise articulation marks—which, The second setting more closely resem- some finger clicking, some parallel root however, may still need further interpre- bles a fugue. Both pieces are suitable for position triads that descend chromatical- tation (shared among the group) to arrive intermediate consorts. There are few ly, and a neat bass part, where the bass at a real rock feeling. rhythmic eccentricities and intonation sings away on the melody while punctuat- The second section features a solo for should not be a problem. ed with rhythmic touches from the sopra- tenor, accompanied by percussive figures As always with the Early Music Library no and alto. There is a really nice extended in the three upper instruments. Another series, this edition is a model of clarity. homophonic passage in which the three section is a tutti “shout chorus.” Each player has an individual score and parts are playing mostly parallel root We have all heard music like this; page turns are not an issue, since each set- position triads. The rhythms may be a many of us have never played it on ting fits comfortably onto two pages. bit tricky for those not accustomed to play- recorders nor seen it in notation. Making Thomas also includes some brief biog- ing jazzy metric notations, but the parts music out of notes, especially in a novel raphical material on Titelouze, a mention come together easily. idiom, requires that, once we have mas- of his editorial practice, and the original I’d recommend this piece to middle- tered the notes and rhythms, we experi- plainchant on the back cover. This is a very school-aged students, and I’d also recom- ment as an ensemble with the nuances satisfying edition for a small consort. mend it for adult groups who want to have of the music until our performance Frank Cone a bit of fun. It is definitely a winner! I’m matches our understanding of the genre. going to keep my eyes open for other new It takes correct and accurate articula- WIR DANKEN DIR, HERR JESU music from Bullard. tion to make these notes into rock music. CHRIST, BY DIETRICH BUXTEHUDE, ARR. Susan Groskreutz Even the rests may require special treat- NORMAN LUFF. Polyphonic Publ. PP 168 ment. Working on these types of (Magnamusic), 2002. SAAB, 4 sc 2 pp FANTASIA ROCKICA, BY EGON problems in rehearsal can be a very each. $5. ZIESMANN. Moeck ZFS 766 valuable experience for an ensemble. This is an arrangement for four (Magnamusic), 2001. SAAT. Sc 4 pp, I recommend this piece both for its recorders of a short organ work, a chorale pts 4 pp. $7. musicality, and for the good experience prelude by the renowned Danish organist German composer Egon Ziesmann’s to be derived from the process of learning Dietrich Buxtehude (1637-1707). Buxte- Fantasia Rockica seems at first glance to to play it. hude studied music with his father, who be quite a simple piece. It is mostly Charles Gamble was also a church organist, and served at homophonic, with simple rhythms and churches in Helsingborg and Elsinore some prominent passages of repeated AVE MARIS STELLA (2 SETTINGS), before being appointed to the prestigious notes. The difficulty, and the charm, of BY JEAN TITELOUZE, ED. BERNARD THOMAS. position of organist at the Marienkirche the piece enter arm in arm with the London Pro Musica EML 381 at Lübeck, Germany. second word of the title. This is rock (Magnamusic), 2001. SATB. 4 sc, 2 pp ea. There he instituted a regular series of music for the recorder quartet! $5. musical performances (Abendmusiken), When compared to the vast amounts which were held on five Sundays a year. of music surviving from Italy, Germany Among the notable musicians who came The difficulty, and the and England, French Renaissance music to Lübeck to be inspired by Buxtehude charm, of the piece enter is quite meager in quantity but not in were G. F. Handel and J. S. Bach. quality. The text of the chorale, on which Wir arm in arm with the Jean (Jehan) Titelouze is now an ob- danken dir, Herr Jesu Christ is based, is second word of the title. scure figure, but during his lifetime was loosely translated by Denver (CO) ARS highly regarded as a composer, a writer, chapter member (and professional trans- This is rock music for and, like Bach, an organ consultant. He lator) Chris Hollingsworth: “We thank was born c.1562 in St. Omer, which was you, Lord Jesus Christ that you became a the recorder quartet! then part of the Spanish Netherlands. He mortal from a virgin; That is the truth; The became a French citizen in 1604, having hosts of angels rejoice; Halleluiah.” There- The individual parts are not difficult, taken up residence in Rouen in 1585. He fore this piece is particularly appropriate but learning to play this music as a won awards for his poetry in 1613 and for the Christmas season, but could be unified ensemble, sharing an authentic 1630. He died in Rouen in 1633. used year round in church as a short prel- rock feeling, may offer some fun—and Titelouze also was the first French com- ude or interlude. perhaps a challenge—to many groups. poser to publish organ music in volumes. The individual parts weave in and out The first section builds gradually to a His 1623 volume provided the source for in rich sonorities, complementing each tutti chord to be played five times. Need- these two pieces, since he did not publish other in florid counterpoint with some im- less to say, five identical articulations will ensemble music as such. Titelouze was itation, and ending with a dramatic flour- not suffice! It’s important here (and renowned for the rigor of his contrapuntal ish by the soprano. This chorale is highly throughout this piece) to observe correct writing. These pieces are in four parts recommended as a worthwhile challenge and idiomatic articulation. throughout. for intermediate groups. Having so little dynamic range, The first setting has the “Ave maris stel- The publication is clearly printed with recorders have little else but articulation la” plainchant in the bass part in whole notes large enough for two to share a with which to create feeling in a piece of notes, while the upper parts have interme- stand, and four scores are furnished. Not music. This goes double in a rock style. diate level figurations over this ground included, though—regretfully, to my The composer has carefully given us very bass. mind—is any information about the
34 American Recorder source, historical background, or even a This Hawthorns edition also includes a his funeral elegy by setting “just grief, translation of the title. companion piece, Canzon sopra “I le bel e heart, tears…” in descending minor thirds bon” by Gerolamo Cavazzoni, which is in the soprano against syncopations in the IL EST BEL ET BON, BY PIERRE based on the opening theme of the tenor. PASSEREAU, ARR. KEN ANDRESEN. Passereau chanson. These two pieces go The two Morley pieces make dramatic Polyphonic Publications PP 165 well paired together in performance— use of contrasting textures. The first one (Magnamusic), 2002. SATB. 4 sc particularly when using the Andresen begins with an affective suspension on “Ay me!” followed by a declamatory 2 pp ea. $5.75. edition of the chanson, because its bright homophonic section. Then the note val- In this light-hearted chanson, a woman SATB range contrasts nicely with the ues become smaller to describe the blood brags about her “bel et bon” husband who lower AATB setting of the canzona. does the housework and feeds the chick- and the venom, and the piece ends with a ens. The music works well played on stretto-like setting of “Alas,…my heart out 2 SERIOUS SONGS, BY WILLIAM BYRD, weepeth.” recorders, as intended in this textless edi- London Pro Musica EML 369 Even more variety and quick changes tion, but the addition of a singer would (Magnamusic), 2000. 5 voices or of texture appear in the Tomkins two- bring out the fun of the words— instruments, 5 scores, 4 pp. each. $5.50. section piece. For example, the words even when sung in French for an 2 CANZONETS (1597), BY THOMAS “and sighs,” sung as a hocket between the English-speaking audience. The husband MORLEY, London Pro Musica EML 382 top and the lower three voices, are imme- is not only “bel et bon” but “bon, bon, (Magnamusic), 2001. 5 voices or instru- diately followed by embellishments on the bon, bon, bon,” and the chickens cluck ments, 5 scores, 4 pp. each. $5.50. words “and sings” sung in melodious away in the lower parts against the words WEEP NO MORE, THOU SORRY BOY, thirds. “petite coquette” that are repeated in the BY THOMAS TOMKINS, London Pro Musica These pieces are not difficult to play on top part. Some of these vocal effects can be LPM 557 (Magnamusic), 2003. 4 voices or recorders, but their interest lies in their instruments, Sc 10 pp, 5 pts (extra tenor brought out with recorder articulation, texts as related to the music. For an effec- part in alto clef) 3 pp ea. $7. but a setting of the text with the music tive performance, at least one singer is Here are a total of six rather somber needed. would be helpful in this regard. songs, which should be sung with or with- out instruments in order to communicate EIGHT BALLETTI (1596), BY GIOVANNI The husband is not their emotional content to the audience. GASTOLDI, ED. BERNARD THOMAS. London One of the Byrd songs, Come to me grief Pro Musica LPM TM37 (Magnamusic), only “bel et bon” but for ever, was composed for the funeral of 1983. 5 voices or instruments. 5 scores, Sir Philip Sidney, who was a courtier of “bon, bon, bon, bon, bon,” 16 pp ea. $11.25. Queen Elizabeth. After Sidney died a BALLETTS (1595), SELECTION I, BY hero’s death from battle wounds, he was and the chickens cluck THOMAS MORLEY, ED. BERNARD THOMAS. given an elaborate state funeral in St. London Pro Musica LPM TM63. away in the lower parts.... Paul’s Cathedral. (Magnamusic), 1986. 5 voices or Byrd’s other song in this edition, Mine instruments. 5 scores, 12 pp ea. $11.25. Andresen does include a loose transla- eyes with fervency of sprite, pessimistically SIX LIEDER FROM LUSTGARTEN invokes the Lord who “dwellest in light, tion of the text, but an edition by Richard (1601), BY HANS LEO HASSLER, ED. which no man may come nigh.” Geisler of the same chanson (published BERNARD THOMAS. London Pro Musica Morley’s canzonets, Ay me! The fatal in 1991 by The Village & Early Music LPM TM26. (Magnamusic), 1981. arrow and Love took his bow and arrow 5 voices or instruments. 5 scores, 12 pp Society) sets the text to the top part and are light pieces with gory words about also includes a line-by-line translation. ea. $11.25. Cupid’s arrow that “Hath plucked and ENGLISH BALLAD TUNES IN POLY- Unfortunately the Geisler edition is over- pierced my liver,” and that “slew his PHONIC SETTINGS (C.1600), ED. edited to my taste, but is well worth mother’s sparrow.” BERNARD THOMAS. London Pro Musica consulting—as well as the choral setting The first section of Tomkins’ Weep No LPM TM51. (Magnamusic), 1985. 4 or 5 published by the Bourne Company, New More, Thou Sorry Boy was dedicated to his instruments. 5 scores, 12 pp ea. $11.25. York, to which Geisler refers. brother Peregrine Tomkins. It describes These four London Pro Musica Another recorder arrangement by Paul the “thousand passions” love brings, editions have long been out of print but Clark of this chanson, Il est bel e bon, was including “If she smiles, he dancing goes,” are again available—thankfully, this time published in 1996 by Hawthorns Music but “If she chide with angry eye, Ay me, with five scores (instead of only one) in- (RA74, available through Magnamusic) I die.” The second section, “Yet Again, As cluded in a sturdy, dark red and tan folder. and reviewed in the September 1997 issue Soon Revived,” was dedicated to another All of these publications have been brother, Robert Tomkins. Similarly, it de- of this magazine. Clark has transposed the favorites of mine throughout the years, scribes the joys and sorrows of love, then chanson down a fourth to fit AATB both for large-group playing and singing returns to the words that begin the first at chapter meetings and workshops, and recorders, but again the text is omitted. section, “Then weep no more, thou sorry Clark has been very cautious about adding for one-on-a-part intermediate-level boy,” and ends with the positive advice, consorts. They all include ample notes on musica ficta, so players using his edition “Turn thy tears to weeping joy.” editorial practice, historical background should consider adding appropriate acci- Musically these pieces reflect their and sources, along with ranges and dentals at cadences. texts. For instance, Byrd creates tension in incipits for each piece. Only one of the edi-
January 2005 35 tions, by Morley, has been previously re- ALMA REDEMPTORIS MATER, BY textures, with duets, passages of homo- viewed in American Recorder (May 1989). JOSQUIN DES PRÉS, ED. BERNARD THOMAS. phonic writing, and a passage in triple In that review, Stewart Carter mentioned London Pro Musica LPM 562 time to contrast with the basic imitative some minor mistakes that have been cor- (Magnamusic), 2003. 4 voices or insts., style. The scoring would work with SAAB rected in the new publication. Sc 6 pp, pts 2 pp. $5.50. or SATB recorders. Some songs in the first three of these AVE MARIA, BY JOSQUIN DES PRÉS, ED. The three pieces of the Cueurs desolez collections make an interesting compari- BERNARD THOMAS. London Pro Musica collection feature music by composers son because Morley and Hassler often LPM 552 (Magnamusic), 2003. 4 voices or unidentified in the source, but tentatively based their light vocal music on the ballet- insts., Sc 6 pp., pts 2 pp. $6. named here as Pierre de la Rue (Cueurs des- tos by Gastoldi, who is credited with CUEURS DESOLEZ (3 SETTINGS), BY olez/Dies illa) and Josquin himself (Cueurs inventing the form. Examples of this MEMBERS OF THE SCHOOL OF JOSQUIN, ED. desolez and Cueur desolez plorans ploravit). relationship are Morley’s Sing we and chant BERNARD THOMAS. London Pro Musica The four-part chanson is expanded and it and Hassler’s Tantzen und Springen, LPM 558 (Magnamusic), 2003. 4-5 voices amplified in the five-part settings in an both modeled on Gastoldi’s L’innamorato. or instruments, Sc 14 pp, pts 4 pp. $10. intriguing way that the grouping of the The original title page of Gastoldi’s first Josquin des Prés was one of the most three pieces helps to illuminate. Each por- set of ballettos indicates that they are for accomplished and influential composers trays the lamenting nature of the text very “singing, playing and dancing.” Basically in the history of music, but his style is effectively. The four-part setting would homophonic and rhythmically structured sometimes difficult for inexperienced lis- work with an ATTB or STTB consort, while as popular Renaissance dances, they are teners to fully appreciate, bridging as it Cueur desolez plorans ploravit would work quite danceable—whereas Morley’s, does the more abstract early Renaissance with S(A)S(A)TTB. The de la Rue has a top which are more texturally complicated, manner of Johannes Ockeghem with the part that ranges from B below the treble were probably not intended for dancing. high Renaissance expressiveness of Adrian staff to F at the top of the staff, but the oth- Hassler’s balletto-like songs retain Gastol- Willaert. One of the best ways of making er parts fit TTBB well. di’s rhythmic homophonic structure, but Josquin’s acquaintance is to play his mu- All of this music would suit even a low- are often more sophisticated harmonical- sic—and, thankfully, it is clear that afford- er intermediate ensemble willing to do a ly. The melody of one of Hassler’s songs in able editions such as these make that an little rhythmic study. As usual with Lon- this edition, “Mein Gmüt ist mir ver- easy thing to do. don Pro Musica editions, the presentation wirret,” was later transformed from this is thorough and thoughtful, with text un- secular dance song to the chorale O Haupt derlay in both score and parts and page voll Blut und Wunden that J. S. Bach used in The most striking turns avoided in the parts. An English his St. Matthew’s Passion and is known to aspect of the music translation is provided for Alma redemp- many as the Easter hymn O Sacred Head. toris mater and Ave Maria—though not, English Ballad Tunes is a collection by is the richness of strangely, for the Cueurs desolez pieces, Thomas of 10 early 17th-century ensem- where it also would have been of ble settings of popular English melodies. effect achieved by assistance. Some of the tunes are familiar to recorder the low tessitura: The accuracy of the editions is good, players because of their inclusion in though there are a few typographical method books and collections for begin- the piece suits a errors such as editorial accidentals present ning ensembles. For instance, the in the score but missing in the part. There melodies of two different “Courantes” by TTBB recorder is one mysterious B /B clash in the penul- Michael Praetorius in this edition are consort perfectly. timate bar of the de la Rue that will need to those of the English ballads Packington’s be resolved by the performers. Interior Pound and Light of Love, arrangements of parts are made available in C clefs for the which are in Claude Simpson’s Eliza- As Bernard Thomas points out in his use of mixed ensembles. bethan & Shakespearean Musicke for the typically concise and informative notes, Recorder. both Alma Redemptoris Mater and Ave CHACONY, Z.730, BY HENRY Also in this set of English Ballad Tunes Maria were among the most popular of PURCELL, ED. JOSEPH A. LOUX, JR. are two early settings of “Rowland,” which Josquin’s works, having been preserved in Loux Music Company LMP-157, has the same melody as Lord Willoughby in at least eight and 12 contemporary
36 American Recorder recorder—most notably the Three Parts Upon a Ground, edited here by Joseph A. ARS Membership Enrollment and Renewal Loux, Jr. Please enroll/renew me as a member of the Society. I’m looking forward to: Loux has also edited the famous ✰ American Recorder, ARS Newsletter, and the ARS Members’ Directory Chacony in such a way that it can be per- ✰ Members’ Library musical editions formed by the original string group and/or ✰ Eligibility for the ARS Education Program examinations by recorders. ✰ Discounts to some recorder workshops and on ARS publications In both editions, Loux does not hesi- ✰ Mailings from suppliers of materials, music, instruments. (ARS list is made tate to put forward his own ideas and pref- available only to purveyors of goods and services for recorder players.) erences, explaining his general approach ✰ Information on all aspects of playing the recorder in detailed editorial notes and suggesting U.S./Canadian membership: within the music itself alterations and ❏ one year $40; ❏ one year sustaining $70; ❏ two years $75 additions to ornamentation, slurring, Foreign membership: ❏ one year $50; ❏ two years $95 phrasing—and even, on occasion, to the ❏ ❏ actual notes and rhythms to be played. U.S./Canadian Student* membership: one year $20; two years $40 While Loux’s contributions are extensive, Foreign Student* membership: ❏ one year $25; ❏ two years $50 especially in regard to ornamentation, it is *Enclose proof of full-time enrollment. generally possible to reconstruct Purcell’s Workshop membership: ❏ one year $60; Business membership: ❏ one year $120 original intentions. ❏ Address and/or phone information has changed in past year. Mary Mageau’s continuo realizations ❏ Do not list my name in Directory. in both works are effective but relatively All dues paid in U.S. funds by check on U.S. bank, or by international money order. plain, and could easily be elaborated upon Family members residing at the same address may share a membership. However, by enterprising keyboard players uncom- the student rate is not applicable to a shared family membership. For an additional fortable with improvising a complete real- listing in the ARS Directory under different surnames at the same address, add $5. ization for themselves. Mary Connolly has Please check to be included on the ARS list of provided bowings in the Chacony parts. ❏ Recorder teachers and/or ❏ Professional performers. (Since your recorder activi- In regard to the famous incomplete ties may change, you must indicate on each renewal if you want to continue to be seventh statement of the ground in three listed.) parts, Loux puts forward the novel theory ❏ I wish to contribute $______to help sustain the work of the Society. that Purcell may have deliberately left the Please charge my dues/donation to my VISA/MASTERCARD: passage incomplete in order that perform- #______Exp. Date: ______ers might have the pleasure of completing Cardholder’s signature______the puzzle canon for themselves. In this spirit, Loux explains the intended musical NAME______PHONE (______)______ADDRESS ______effect and provides six different comple- ______E-MAIL ______tions by various editors in his notes—but CITY______STATE ____ ZIP/POSTAL ______leaves the passage blank in the score and parts, to allow performers to fill in their CHAPTER/CONSORT AFFILIATION, IF ANY:______favorite solution. OPTIONAL INFORMATION: In general, Loux’s suggestions yield a Chapter officer or committee member? good musical result (although the recom- ❏ Yes (officer/committee: ______) ❏ No ❏ Have served chapter in past mended ATBB scoring for the Chacony Age: _____ For how many years have you played the recorder? _____ does cause the third part frequently to Level of recorder playing: ❏ Amateur ❏ Semi-professional ❏ Professional cross the bass if recorders alone are used). Annual income: ❏ Under $10,000 ❏ $10,000-30,000 ❏ $30,000-50,000 Performers new to this repertoire, ❏ $50,000-75,000 ❏ $75,000-100,000 ❏ Over $100,000 however, may want to start with a more ❏ ❏ ❏ straightforward Urtext edition and then Portion of your income derived from music: All Some None enjoy exploring Loux’s ideas. Portion of music income derived from the recorder? ❏ All ❏ Some ❏ None The presentation is generally good— If all or some, what kind of recorder activities are involved? (Check all that apply.) although the page turns are difficult for ❏ Teach privately ❏ Teach/lead workshops ❏ Teach elementary school music the recorders in the Chacony, and there are ❏ Performance ❏ Recorder maker ❏ Musical director/coach some markings in the parts there that are ❏ Other ______not found in the score and vice versa. What type of recorder music do you play? (Check all that apply.) ❏ Medieval/Renaissance ❏ Baroque ❏ Modern/pop ❏ Folk ❏ Solo ❏ Recorder Orchestra ❏ Chamber music with other instruments (such as KEY: rec=recorder; S’o=sopranino; S=soprano; ❏ A=alto; T=tenor; B=bass; gB=great bass; cB= contra trio sonatas) Broken consort with other instruments (such as a collegium) bass; Tr=treble; qrt=quartet; pf=piano; fwd= fore- ❏ Consort involving three or more recorders playing one-on-a-part ❏ Grand consort word; opt=optional; perc=percussion; pp= pages; (format used in many chapter meetings, with several recorders playing on each part) sc=score; pt(s)=part(s); kbd=keyboard; bc=basso continuo; hc=harpsichord; P/H=postage and han- dling. Multiple reviews by one reviewer are followed by AMERICAN RECORDER SOCIETY that reviewer’s name. Please submit music for review to: 1129 Ruth Drive, St. Louis, MO 63122-1019 U.S.A. Constance M. Primus, Box 608, 1097 Main St., George- town, CO 80444. Fax renewals to 314-966-4649
January 2005 37 NOTTURNO, BY F. J. DUSSEK, ARR. ARS PUBLICATIONS ULRICH HERRMANN. Noetzel N 3954 Erich Katz Contemporary Music Series Members Non-Members (C.F. Peters), 2003. AAT. Sc 12 pp, Suzanne M. Angevine, A Short Tale for two basses (Level II) (2 scores) $ 5 $ 8 pts 6 pp. $16.95. Peter Ballinger, Double Quartet for Recorders (Level II-III) (score & parts) $10 $18 CONCERTO IN D MINOR, BY G. F. Anthony Burgess, Sonatina for Alto Recorder and Piano (Level II) (2 scores) $7 $12 Cecil Effinger, Dialogue and Dance (SATB) (Level II-III) (score & parts) $10 $18 HANDEL. ARR.ULRICH HERRMANN. Noetzel Lee Gannon, Sonatine for three altos (Level III) (score & parts) $14 $26 N 3908 (C.F. Peters), 2003. S(T)TB. (score, parts & demo cassette) $23 $43 Erich Katz, Suite of Jewish Folk Tunes (S S/A8 A/T) (Level II) (three scores) $10 $18 Sc 18 pp, pts 7 pp. $22. Vaclav Nelhybel, Six Short Pieces for Three Recorders, (AA/TT) (Level II) CONCERTO, OP. 8, NO. 4 edited by Alan Drake (3 scores) $8 $14 “L’INVERNO,” BY ANTONIO VIVALDI, Stanley W. Osborn, Kyrie and Vocalise for soprano voice and recorders (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14 ARR. JEAN CASSIGNOL. Noetzel N 3941 Frederic Palmer, Entrevista (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14 (C.F. Peters), 2003. SAB/AAB/ASB/ATB. Sc Sally Price, Dorian Mood (SATB) (Level II) (score & parts) $10 $18 Jeffrey Quick, Picnic Music (SATB) (Level II) (score & parts) $ 5 $ 8 16 pp, pts 7 pp. $16.95. These three new issues of recorder trios Musical Editions from the Members’ Library: ARS members: 1 copy, $3 2 copies, $4.50 3, $6 4, $7.50 5, $10 6, $11.50 from Noetzel nicely illustrate the sort of Non-members (editions over 2 years old): 1 copy, $5 2 copies, $8.50, 3,$12 4,$15 5, $19.50 6, $23 flexibility that frequently characterizes the The ARS is happy to provide photocopied enlargements of any Members’ Library edition at the same prices. Please recorder ensemble. specify “Members’ Library Enlargement.” * = Editions not yet available to non-members. The composer of Notturno is not the Bruckner’s Ave Maria (arr. Jennifer W. Lehmann) Santa Barbara Suite (Erich Katz) Canon for Four Bass Recorders (David P. Ruhl) Sentimental Songs (arr. David Goldstein) well-known pianist-composer Jan Dancers (Richard Eastman) Serie for Two Alto Recorders (Frederic Palmer) Ladislav Dussek, but his younger brother Different Quips (Stephan Chandler) Slow Dance with Doubles (Colin Sterne) Elegy for Recorder Quartet (Carolyn Peskin) Sonata da Chiesa (Ann McKinley) Franz Josef (1765-1817). The work was Elizabethan Delights Three Bantam Ballads (Ann McKinley) originally composed for three flutes and *Gloria in Excelsis (Robert Cowper) Three Cleveland Scenes (Carolyn Peskin) Imitations (Laurie G. Alberts) Tracings in the Snow consists of three movements: a sonata- *In Memory of Andrew (David Goldstein) in Central Park (Robert W. Butts) form “Allegro,” an ornate “Andante *Jazzy Rondo (Carolyn Peskin) Trios for Recorders (George T. Bachmann) Los Pastores (arr. Virginia N. Ebinger) Triptych (Peter A. Ramsey) Grazioso,” and a rhythmic “Rondo” (Tem- New Rounds on Old Rhymes (Erich Katz) Two Bach Trios (arr. William Long) po di Polacca). The piece is in the high Other Quips (Stephan Chandler) Two Brahms Lieder (arr. Thomas E. Van Dahm) Poinciana Rag (Laurie G. Alberts) *Variations on “Drmeš” (Martha Bishop) Classical style with a hint of the early Ro- Vintage Burgundy mantic, but the original scoring for flutes ARS Information Booklets: and its character as a nocturnal serenade ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 mean that the mood is light throughout. Non-members: 1 booklet-$18, 2 booklets-$33, 3-$44, 4,$55, 5-$66, 6-$76, 7-$86 The AAT scoring maintains the warmth Adding Percussion to Medieval and Renaissance Music (Peggy Monroe) of the flute tone—and the transparency American Recorder Music (Constance Primus) The Burgundian Court and Its Music (Judith Whaley, coord.) of Dussek’s writing, coupled with Improve Your Consort Skills (Susan Carduelis) Herrmann’s judicious arranging, means Music for Mixed Ensembles (Jennifer W. Lehmann) Playing Music for the Dance (Louise Austin) that the recorders can convey much of the Recorder Care (Scott Paterson) character of the original. There are rela- Education Publications tively few expression marks, but the con- The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). trasting melodic figures will encourage First copy free to ARS Members (mailed to current members in 1996 & new members as they join); performers to seek a wide range of color. replacement copies for members or non-members, $3. Fluency is required at the top and the Guidebook to the ARS Personal Study Program (1996). Material formerly published in the Study Guide and Study Guide Handbook, plus additional resources. Members, $11; non-members, $20. bottom of the recorder range, but the ARS Music Lists (2002 with 2003 Supplement). Graded list of solos, ensembles, and method books. music would be quite approachable for an Members $9; non-members, $15. Package deal available only to ARS members: Guidebook and Music Lists/Supplement ordered together, $16. intermediate ensemble. As always, it is a Junior Recorder Society Leader’s Resource Notebook. ARS members, $20; non-members, $40 treat to enjoy music from a period that (updates at reduced rates after initial purchase). Special rate for previous purchasers of JRS Class does not normally involve the recorder. Program, $15. Dues for each JRS student member sponsored by an ARS member, $5 ($4 each for groups of 10 of more). JRS student members receive activities plus “Merlin” badges and stickers. The Handel Concerto is a transcription Other Publications of the composer’s Concerto Grosso, Op. 3, No. 5. Although the original is scored for Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering forming an ARS chapter. ARS members, $10; non-members, $20 (updates free after initial purchase). two oboes, strings and continuo, the One free copy sent to each ARS chapter with 10 members or more. oboes double the violins almost continu- Recorder Power, educational video from the ARS and recorder virtuoso John Tyson. An exciting resource about teaching recorder to young students. ARS members may borrow a copy for one month by sending a ously while the viola plays in octaves with refundable $10 deposit to the ARS office along with the address to which the tape should be shipped. the bass throughout. This leaves a three- Discography of the Recorder, Vol. I (1989). Compiled by Scott Paterson and David Lasocki. part texture that suits the recorder trio Discography of the Recorder, Vol. II (1990-1994). Compiled by Scott Paterson. Either single volume: ARS members $23; non-members, $28. well. Herrmann leaves open the possibili- Both Discography volumes together: ARS members only, $40. ty of substituting tenor for soprano on the American Recorder: Cumulative Index for Vols. I-XXXX. ARS members, $20; non-members, $32. Index Supplement, Vol. XXXIV-XXXX. ARS members, $8; non-members, $14. top line and/or doubling the parts, thus All prices are in U.S. dollars and include U.S. postage and handling. For Canadian or foreign surface postage, please encouraging experimentation with scor- add an additional $1 per item; for Canadian or foreign air mail, please add an additional $3 per item. When ordering ing possibilities inspired by the work’s five or more items to be shipped anywhere at the same time, ARS Members may deduct an extra $2 on top of the original sonorities. Although one misses discounted members' price. Please make checks payable to the ARS. VISA/MasterCard also accepted. the orchestral timbres, of course, the clar- American Recorder Society ity of Handel’s counterpoint makes the 1129 Ruth Drive, St. Louis, MO 63122-1019 U.S.A. N 800-491-9588
38 American Recorder reworking a successful one, especially in was the actual composer or compiler of vidistis pastores? to be very satisfying expe- the fugal movements. Again, the piece is the set of sonatas entitled Il Pastor Fido. riences, and the group thought that the well-suited to an intermediate ensemble. However, the question is: why another editor Richard Charteris showed good Arranger Jean Cassignol has a more edition of this sonata—a standard taste in choosing these particular pieces difficult task in arranging “Winter” from recorder repertoire piece that has been for his arrangements. Vivaldi’s Four Seasons. The freedom of published since the 1950s by Schott, Hor- The cornetto player Giovanni Bassano Vivaldi’s writing style and his idiomatic tus Musicus, and others? A quick compar- (c.1558-1617) was also the instrumental use of string sonorities to paint quite ison with my old Hortus Musicus edition, ensemble director at St. Mark’s Cathedral specific tonal pictures would seem to pose for instance, shows that there is very little in Venice and is best known for his embel- insurmountable difficulties in producing a changed in the recorder part of this lishment manuals. These motets show recorder version, especially for only three Girolamo edition, and the new that he was also adept at composing for instruments. As with the other three con- harpsichord realization by Eckhart Kuper the services held at St. Mark’s. certos in the set (reviewed in the Novem- does not seem much improved. Although both motets could be ber 2004 AR), Cassignol has drawn on his One special feature in the recorder performed in various combinations—by intimate knowledge of the recorder’s part, though, is that, for the short “Adagio” two vocal choirs, by two choirs of voices capabilities—and, through careful instru- at the end of the first movement, the bass doubled with instruments, by a choir of mentation, has produced a result that is line has been included—as well as a lot of voices contrasting with a choir of fun to play and evocative of the original. empty space above for the performer to instruments, or by other consorts of Because of its difficulty, the piece as a pencil in a cadenza. instruments in one or both choirs—the whole would only really succeed in the This is a well-loved, fun-to-play sonata. KRP played them with just recorders. hands of expert players, though the lovely If you don’t already own another edition, Both the score and the parts are very slow movement could be managed quite I’d recommend this new one. clear and easy to read—something that effectively by an intermediate group. Andrew Robinson has offered us here the director particularly appreciated, since All three editions are presented with another collection of Baroque music for many scores are somewhat difficult to see great care for accuracy and for manageable recorder and keyboard arranged with in- from a distance. The text underlay was in- page turns. termediate players in mind. In his inform- cluded in each of the individual parts, and Scott Paterson ative introduction Robinson says that all the score included the translation. This but two of Vivaldi’s 22 surviving chamber made musical decisions about phrasing, Cassignol has drawn on concertos call for recorder or transverse mood and tempo much easier and helped flute, usually with combinations of the individual players understand why his intimate knowledge violins, oboe or bassoon with continuo. those decisions were made by the director. of the recorder’s In this collection slow movements from The editor also provided a page of 13 of these are represented. notes that gives more information about capabilities—and, As in other arrangements by Robinson, the original copy of the motets and the through careful the right hand of the keyboardist carries editorial practices used. instrumentation, has the part of one of the other instruments The KRP found Quem vidistis pastores? rather than a realization of the bass line. to be the easier of the two, so less experi- produced a result These are nice study pieces in the Ital- enced groups probably would want to that is fun to play.... ian Baroque style offering opportunities start with that one. Even it has some tricky for ornamentation. But one wonders: why spots that would necessitate having strong just slow movements in this collection? leaders. SONATA IN G-MINOR FROM “IL And why just one movement from each Only two small issues detract from the PASTOR FIDO,” BY A. VIVALDI concerto rather than complete works? overall excellence of these two editions. (N. CHÉDEVILLE), ED. FRANZ MÜLLER- Constance M. Primus The tessitura of the Cibavit nos bass line is BUSCH. Girolamo G12.022,
January 2005 39 SUITE FOR TREBLE RECORDER OR of seven movements of old and new dance This movement is technically more FLUTE AND PIANO OR STRINGS, BY forms. As always, Gordon Jacob showed challenging for the recorder than the first GORDON JACOB. Oxford University Press himself master of his craft; the string writ- movement. There are some high F s with 357354-71959, 1959. Re-issued by ing was vivid, varied in tone colour and fingering suggestions from Jacob—one Peacock Press (Provincetown), 2002. expression, tremendously rhythmic and good and one not so good, in my opin- A, pf. Sc 33 pp, pt 10 pp. $15.35. String vital in the quick movements, and lyrical ion—and a trill fingering suggestion for parts may be rented from the publisher. . in the more contemplative ones; the high D to high E that works very well. PASTORALE AND BOURÉE FOR recorder part had great tonal and expres- The third movement, in B with con- DESCANT RECORDER AND PIANO, sive range, and there was delightful wit siderable chromaticism, is a very beautiful BY CHRISTOPHER EDMUNDS. Peacock Press and humour....” lament. Again the theme is one of falling PD 03 (Provincetown), 2002. Sc 8 pp, pt Davenport, in his review in AR, notes, and there is an atmosphere of both 3 pp. $12.25. deplored the lack of “the very latest tech- longing and calling. The accompaniment TRIFLES FOR TREBLE RECORDER niques of composition” in Jacob’s Suite. It is pianistic, as indeed it is in all of the (FLUTE), VIOLIN, VIOLONCELLO & is true that the piece does not push the movements, in spite of some necessary HARPSICHORD (PIANO), BY GORDON envelope in any way, nor is it highly spreading of chords in the left hand. JACOB. Emerson Edition 355 (Presser), demanding technically for either player. In the fourth movement, a “Burlesca 2000. A, vn, vc, hc. Sc 15 pp, pts 7 pp It is, however, a lovely piece of music, alla Rumba” again in C minor, and in the each. $37.95. structurally sound, and a pleasure to hear. seventh, a “Tarantella in F,” the composer American Recorder has recently The harmonic idiom is lush, romantic, enjoys a fling with some of the exotic received review copies of these new edi- chromatic and expressive. dances with which classical composers tions of “old” pieces for solo recorder and were playing at the time. The word accompaniment connected strongly to the “burlesca” has come to mean humorous pioneer recorder player and maker Carl American Recorder or playful when applied to an instrumen- Dolmetsch. All are from the mid-20th has recently received tal piece. century, and all reflect the style of recorder The “rumba” is, of course, a dance of playing of that time. review copies of these Afro-Cuban origin that was extremely Gordon Jacob’s Suite was first new editions of “old” popular in the U.S. in mid-century (it performed by Dolmetsch at one of his became a ballroom dance in the 1930s) famous Wigmore Hall (London) recitals pieces for solo recorder and later in England. With its catchy on January 31, 1958. It was published by one-two-three one-two-three one-two Oxford University Press in 1959. Oddly, I and accompaniment rhythm (called a tresillo rhythm, New cannot find a review of the publication in connected strongly Grove tells me), it has an effective accom- any issues of the British Recorder News paniment on the piano for an exciting (although one was promised) of around to...Carl Dolmetsch. recorder part. that time, and the review in AR (II: 2, 9) The fifth movement, in G minor, is a by LaNoue Davenport is brief and rather Upon its re-publication in 2002, the “Pavane.” A very clear reference to Dow- perfunctory. American Recorder Society education land’s Lachrimae Pavan, or Flow My Tears, Jacob (1895-1984) was an important committee decided to add the Suite to its in the piano introduction is immediately English composer, worthy of a full column list of 20th-century music for Level III of metamorphosed into a descending of biography in the New Grove Dictionary the ARS Personal Study Program. Locrian (!) scale in the recorder part. There of Music and Musicians, and the Suite is a The first movement, “Prelude” in are other scales, both rising and falling— fine piece. Jacob was a composer of most- D minor, is sweet, with many parallel even rather ordinary major and minor ly instrumental music, including two sym- thirds in both parts. The main theme of ones that Jacob manages to make sound phonies and a number of concertos and gently falling notes (Adagio ma poco con exotic with the accompanying harmonies. suites. He was particularly interested in moto) is passed back and forth between He finishes the movement in G major. wind instruments, including the recorder and piano. I can easily hear Perhaps the tears have dried up, for the trombone, English horn and tuba as well Dolmetsch playing this with my mind’s time being at least. as the recorder. He also wrote textbooks: ear. His playing was marked by sweetness, The sixth movement, “Introduction Orchestral Technique, How to Read a Score, along with a heavy vibrato—almost oblig- and Cadenza,” begins with a short solo for and The Composer and his Art. atory in this as in all the other movements. the piano (chords in the right hand, a Jacob’s Suite is a “big” piece, a stand- The second movement, in F, is called melodious ’cello solo in the left); then the out among the “little” original recorder “English Dance”—why, I don’t know recorder takes off on a solo cadenza that pieces composed in the middle of the 20th exactly, as it seems neither particularly touches on the themes of all the other century. Lacking an English review of the English nor is it a dance. It is, however, movements. As the accompaniment reap- publication, I have “M.B.”s enthusiastic very lively, with 5/8 interpolations in the pears a tempo primo, the pavane theme report in the British Recorder News (New midst of the overall meter of 2/4 time. reappears as well, in Phrygian mode this Series No. 21, L 1958) on the Dolmetsch There is a very short quotation taken, with time. concert at Wigmore Hall: “As usual a new permission, from Vaughan Williams’s This A C major dominant minor ninth work was given its first performance—this is thy Truth that is also an exact quote from chord ends the movement, leading to the year a Suite for Treble Recorder and String an English folk song, Searching for Lambs. seventh, an Italian “tarantella.” Like its Quartet by Gordon Jacob. This consisted This is probably the “English” part. prototype, the movement starts fast and
40 American Recorder ends faster, and those recorder players and we begin to get the joke), gives the printed output consists of sacred music. pianists seeking virtuosic writing will find recorder a very beautiful theme with a Esquivel was very prolific for his era; he it here. The composer suggests playing chordal accompaniment in the strings— published two large volumes in 1608— this movement on the sopranino recorder; the harpsichord is tacet. The second, “La one of masses, the other of motets. His Dolmetsch did indeed perform it thus in Trifle au vin de Jerez,” has polyphonic play music stands with the works of Victoria, his 1958 concert in Wigmore Hall. Again, among the parts, delightful cross-rhythms Guerrero and Lobo, but has not received it is very easy to imagine him playing it in and plenty of hemiolas. The third, “La the modern attention afforded those com- one’s mind’s ear. He loved the little Trifle à l’ananas–très douce” (pineapple posers. His reputation and the quality of recorders, and he loved playing fast! I can trifle!) is tasty. It’s marked Adagio molto his music kept his works in use during the also picture Michala Petri playing it flaw- ( =40) with rather heavy writing in all the 17th century in Spain and Mexico. lessly. parts. Lots of whipped cream, perhaps? Ego sum panis vivus is presumably from A word about the marks of articulation This movement has a fair amount of chro- one of his two motet publications. There is and dynamics in this and the other pieces maticism, but not enough to make it lose no indication of the source of this edition. under review: all must be taken with a its tonal center. Ego sum panis vivus requires a consort grain of salt. In general, longer slurs ap- The fourth movement is marked “La of intermediate ability or greater. Two chal- pear to be phrase-marks; shorter ones, on Trifle à l’anglais” (well, if you didn’t before, lenges become apparent when playing this fast notes especially, can be taken literally. now you have to get the pun: an English music. First, great attention needs to be The player must make many of his own de- trifle is a rich dessert consisting of sponge paid to the phrasing. Luckily this publica- cisions. Dynamics must often be simulat- cake, sherry, fruit, zest, nuts, macaroons, tion, unlike many other Hawthorns ed rather than attempted. (What, for in- custard, almonds and whipped cream). It editions, includes a text underlay in each stance, is the difference between ff and mf has as its main theme a direct quote from part, making accurate phrasing possible. on a sopranino recorder?) the lively English folk song, The Keys to Second, the key signature of two flats All in all, the Gordon Jacob Suite is a Canterbury. Thus it is an English trifle. can present problems in intonation. This fine piece for recorder that has stood the As in the other movements, there is key signature would have been unlikely at test of time, and we welcome its return. much bandying about of the main theme the time of composition, so it is clear that The Edmunds Pastorale and Bourée, on and counter-themes in all four parts. the music has been transposed, probably the other hand, is not nearly so deserving There is a meno mosso section in which the up a fifth. The prevalent E s, as well as the of its new life. It was composed in 1968 three obbligato parts get the main theme occasional A , can cause tuning problems and presented as a New Year’s gift for Carl in block chords; then the harpsichord in some ensembles. Fortunately, however, Dolmetsch. It has remained in manuscript makes a playful entrance with an excerpt this edition avoids low E s in the soprano all these years until released for publica- played up to speed; following that, it and low A s in the alto. The parts have tion by Jeanne Dolmetsch. takes over the block chords. In a last Presto large, easy-to-read notes and all the music The composer was a teacher of harmo- section, all four instruments combine in fits comfortably on a single page. ny and composition at the Birmingham a furious 9/8 gallop. Carlo Gesualdo (c.1561-1613), Prince School of Music. The music is beautifully Throughout the four movements the of Venosa and Count of Conza, is known printed using Sibelius 7 on a heavy pale writing for each instrument is idiomatic, today for two things: for the individuality yellow stock, and I wish I liked it more. except that the harpsichord part could of his music; and for murdering his wife, Both movements have a certain lilt and easily be played on a piano. The music Maria d’Avalos, and her lover of two years, charm, but they seem to this listener to itself, while unpretentious perhaps, is of Fabrizio Carafa, the Duke of Andria, after have “wrong notes” interpolated in order such good quality that it is worth the he surprised the two of them “in flagrante to make the piece sound “modern.” How- rather high price. If you have a “trio delicto di fragrante peccato” on October ever, if Dolmetsch was fond of the piece sonata” group, consisting of recorder, 16, 1590. The notoriety of this event has and performed it often—as seems evident violin, ’cello, and keyboard, this piece is sometimes obscured the idiosyncratic from markings that he added to the score for you! genius of his music, particularly his madri- for articulation and phrasing, as well as a Martha Bixler gals. cadenza he added between the two move- Gesualdo’s obsession with melancho- ments—it must have some merit. EGO SUM PANIS VIVUS, BY JUAN lia is comparable with Dowland’s, but The third piece under review, Trifles, ESQUIVEL, ED. GREG LEWIN. Hawthorns Gesualdo’s musical language far outreach- composed in 1971 for Dolmetsch and first Music RS 107 (Magnamusic), 2002. es his contemporaries in stretching the performed by him at his Wigmore Hall SATB. Sc 4 pp., pts 1 pp ea. $8. recital in March 24, 1983, is again by IO PUR RESPIRO, BY CARLO GESUALDO, Carlo Gesualdo Jacob. It is, in actual fact, a group of pieces ED. GREG LEWIN. Hawthorns Music that could be considered a suite, except RS 106 (Magnamusic), 2002. SAATB. (c.1561-1613), that they are all in different keys. In a letter Sc 4 pp., pts 1 pp ea. $8. Prince of Venosa and to Dolmetsch enclosed with the manu- Greg Lewin and Hawthorns Music script, the composer states that the reason continue their RS (Recorder Shorts) series Count of Conza, is known for the title is that all the pieces are “short with these latest releases. Both pieces are today for two things: and unpretentious.” He further adds that short, less than 70 measures, and are suit- the French titles to the pieces are a pun on able for warm-up pieces. for the individuality the word “trifles,” but that they need not Juan de Esquivel Barahona was born of his music; and for be used in performance. c.1563 in Ciudad Rodrigo, Spain, and murdering his wife.... The first movement, “Le Buffet” (Ah! died sometime after 1612. His entire
January 2005 41 harmonic boundaries to adequately triplets that again conclude with all three express the affect of his text. Whenever I hear recorders layering themselves on the same Io pur respiro in cosí gran dolore is a five- note on successive beats. As this section voice madrigal from Gesualdo’s Madrigali the phrase ends, all three instruments arrive on a D libro sesto, published in 1611. Lewin’s on three successive beats—the tenor plays “Once upon a time,” edition, both score and parts, is clear and high D , forcing the player to cover hole 8 legible. There is no indication of any my childhood sense of (if no alternative fingerings will work). transposition. There is text underlay and The rest of the piece is infused with a translation on the back cover. wonder and anticipation triplets until all three parts hit This music requires advanced recorder of the story emerges. the same tone, once again played players. The tuning on Gesualdo’s numer- Luftgeräusche on a C. After more triplets, ous accidentals is crucial. There is also a unprepared/unresolved dissonances, that the piece ends on a Luftgeräusche D. passage, beginning at measure 41, you are hearing contemporary composi- Suffice it to say, with all of the unisons where the four upper parts break into tional techniques. that come about in layers with successive 16th-note runs. Here it is essential to have Whenever I hear the phrase “Once up- entrances, this piece is quite a challenge players with a good command of double on a time,” my childhood sense of wonder for intonation. But, this is my favorite tonguing. and anticipation of the story emerges. This piece in the suite, so I definitely think it is As has been the case in other wonder is reflected in this music in its worth the trouble! Hawthorns editions, Lewin’s editorial frequently-used and often unresolved The next piece is “Rapunzel, laß dein practices in these two editions are incon- presentation of the augmented fourth. Haar herunter” (Rapunzel, let down your sistent. Io pur respiro has measure num- The note C reaches up to F and strains to hair). There is no doubt as to exactly when bers at the beginning of every system, reach G, much as we yearn to hear more Rapunzel does just this, as suddenly all while Ego sum panis vivus has measure of the story, and thus the atmosphere is parts play a descending chromatic scale; numbers every five measures. Also, the primed for the rest of the fairy tales. the soprano and tenor recorders are in clefs in Io pur respiro indicate a recorder The second piece, “Schneewittchen parallel sevenths while the alto and tenor transposition (soprano and bass sound an tanzt mit den Zwergen,” (Snow White are in parallel thirds. A bit of what I would octave higher than written), whereas Ego Dances with the Seven Dwarfs), is a call a musical struggle follows, and the sum panis vivus has clefs that would be scherzando in 3/8 time. You will need to piece ends peacefully on a D major chord. consistent with vocal notation: alto and take some of the indicated slurs with a “Rotkäppchen und der Wold” tenor both sound an octave lower than grain of salt—some of them occur (Little Red Riding Hood and the Wolf) is a written. In short, both editions have their between very complex fingerings. fun-to-play piece with lots of interesting quirks and flaws, but these short pieces In spite of the contemporary composi- rhythmic passages alternating with calmer are first-rate. ones. Once again, the tenor recorder must tional techniques, we hear such tradition- Frank Cone al passages as parallel thirds and sixths. play the high D ; but this time it is just a At one point, we hear the very sharp 16th note within a tone cluster containing MÄRCHEN-SUITE FÜR DREI BLOCK- dissonance of the simultaneous notes B, three notes, all a half step apart. FLÖTEN, BY GISBERT NÄTHER. Friedrich C and D , a tone cluster that propels the Next comes “Rumpelstilzchen,” which Hofmeister Musikverlag FH 2818, music forward. involves almost constant staccato 16th
42 American Recorder All are from the 15th to the 17th but taking out some of the embellish- another Venetian contemporary of Pic- centuries, except the last piece. It was ments Bach added to the gamba version. chi’s, published a collection in 1621, composed by the editor, based on the Robinson assigns the upper melody line to which contained canzonas marked specif- 16th-century tune “Bergamasca,” to the higher pitched recorder, while the key- ically for recorders that were not stylisti- demonstrate late Renaissance and early board takes the lower two lines. The whole cally different from the present ones. Baroque techniques of variation. The is transposed down a tone from D major to Bernard Thomas has already published longest piece, it is also one of the volume’s fit the recorder’s range. Robinson has also Riccio’s pieces earlier in this series (Cham- more difficult. removed the massive cadenza, making the ber Music of the Seventeenth Century). Many of the others look easy on the piece more accessible to average players. The interested player is encouraged to page, but offer experiences in hemiolas The arrangement works well and cre- seek them out. and tempo changes, and invite experi- ates a very satisfying piece of music. The Presenting only a few technical chal- ments with articulation and ornamenta- slow movements are beautifully melodic, lenges, these pieces are well within the tion. while the allegros have strong, driving grasp of the intermediate player, A charac- Obviously intended for amateur en- rhythms that pull the players along. Bach teristic feature of this genre is the echo sembles, this is not a scholarly edition— fans will have a great deal of fun playing effect. Picchi mixes these echo passages although the editor includes sources and this arrangement. I highly recommend it with parallel motion in thirds, which is a notes about each piece. He also gives sug- (especially played on tenor) for intermedi- very attractive feature of this music. For an gested tempos and indicates moods with ate to advanced players. effective performance, the players really words such as “lively” or “gentle and Geoffrey Allen need to listen to each other carefully. sustained.” He also indicates the metrical These pieces also lend themselves to relationships between duple and triple discreet ornamentation. We tried these sections. There are no articulation marks For an effective sonatas in a variety of configurations. The except for breath marks, and most of the performance, the players most effective seemed to be with contrast- vocal pieces have text underlays for at least really need to listen to ing instruments. Although they can be one part. played with matching instruments (two vi- I have used this edition often for teach- each other carefully. olins, two recorders, etc.), contrasting in- ing and chapter meetings and recommend struments reveal the interplay of the parts. it highly. THREE SONATAS (1625), BY GIOVANNI With recorder performances, it is most Constance M. Primus PICCHI, ED. BERNARD THOMAS. London Pro effective to combine a soprano with a vio- Musica LPM CS22 (Magnamusic), 2000. lin or a cornetto, provided the recorder SONATA IN C (BWV 1028), BY J. S. SS bc. Sc 16 pp, pts 4 pp each. $13.75. takes the canto primo line. Combining an BACH, ARR. ANDREW ROBINSON. Dolce 271 Giovanni Picchi (1572-1643) was a alto or tenor recorder with a violin or cor- (Magnamusic), 2002. S (T) & kbd. Venetian who worked in the San Paolo dis- netto is more problematic. Sc 18 pp, pt 7 pp. $9. trict as organist in the church of Santa There are dynamic markings in some of BWV 1028 comes down to us as one of Maria de’ Frari from 1606 until his death. the echo passages of both pieces, but again Bach’s three sonatas for viola da gamba In 1623 he won the post of organist at the this should not deter the recorder player. and obbligato keyboard. As with the other confraternity of Scuola Grande di San Roc- The Riccio canzonas mentioned above are gamba sonatas, though, this was not co, a position previously held by Giovanni similarly marked. In both Picchi’s sonatas Bach’s original instrumentation for the Gabrieli. His keyboard skills were well rec- and Riccio’s canzonas, the first dynamic music. An earlier version of the first gam- ognized in his time; he was invited to au- marking is pian, indicating that the ba sonata (BWV 1027) exists scored as a dition for the prestigious post of second normal playing dynamic is considered to trio sonata for transverse flutes and basso organist at San Marco in 1624, although be forte, at least at this time in Venice. continuo (BWV 1039). This second gam- he eventually lost to Giovanni Pietro Berti. The basso continuo has been realized, ba sonata is thought to have had a similar Picchi was famous in his day as an ex- presumably by the editor, and is intended predecessor, now lost—perhaps for trans- pert in dance music. Caroso refers to him for organ. A lute part would have been a verse flute, violin and continuo. as one of Venice’s “professori di ballare.” A welcome addition, as in the earlier Riccio During the Baroque era, composers collection of Picchi’s dance music intend- pieces. often arranged trio sonatas for one melody ed for the keyboard was published in the In recent years Picchi’s sonatas have instrument and keyboard when the need late 1610s and was reprinted in 1621. suffered in comparison to Castello’s, in arose. The melody instrument would be In 1625 Picchi turned his attention to that they are less virtuosic, but they are assigned one of the upper lines while the the relatively new sonata form, following certainly attractive and fun pieces to play. keyboard took the other upper line as well the example of his contemporary, Dario I highly recommend them. as the bass line. When Bach arranged this Castello. Picchi freely interchanges the London Pro Musica has done its usual trio sonata for gamba, he assigned the low- terms “canzona” and “sonata” in his pub- exemplary job in presenting this music in er melody line to the gamba—leaving the lication. Thomas continues this practice an accurate and easy-to-read edition. If upper voice and bass for the keyboard. He without comment, according to the origi- there is any complaint or criticism, it is the made several small changes to the music nal print in this new and welcome edition. lack of background information, incipits, to suit the instruments at hand and insert- These two sonatas, marked “Canzona and indication of editorial practice. This is ed a long, complex cadenza for the Prima” and “Canzona Quarta,” are for two indeed unusual for LPM, but was most keyboard into the last “Allegro.” violins or cornetti with basso continuo. probably due to a lack of space rather than In this arrangement, Robinson has fol- However, recorder players should not be any editorial oversight. lowed the same process Bach would have, put off by this. Giovanni Battista Riccio, Frank Cone
January 2005 43 CHAPTERS & CONSORTS ______Reading between the notes and through the ages; ______chapter members out and about, and in concert
In an October workshop for the (CA) Waldorf School. The lively question the Lionheart’s Ballad (with its Robin Hood Mid-Peninsula (CA) Recorder Orches- and answer period after their performance connection) to The Teddy Bear’s Picnic. tra, Tom Bickley had participants “Read- included great interest in the various bass- Have you ever thought of how many ing Between the Notes”—finding a musi- es used and Ridley’s sopranino. The pro- holidays there are in November? Connie cal theme’s “home pitch,” identifying mu- gram ended with the sixth-graders playing Primus did, as she chose music for the sical phrases, and thus emphasizing more a piece accompanied by the Crones. A Denver chapter meeting that month. Her important notes during performance. A teacher remarked, “I’ve never seen these program held pieces (too numerous to participant called it “feeding both sides of students so quiet and attentive!” list) for All Saint’s Day, All Soul’s Day, the brain” and said that he felt that this In September, the Wembleys (South Veterans’ Day, St. Cecilia’s Day and type of analysis “resulted in large group Bay members Joanna Woodrow, Don Thanksgiving. The last segment included playing at a much higher level than before. Watson, Jean Ridley and Laura Gon- arrangements by the late David Goldstein I have listened with attention ever since.” salves plus friends Susan Denison and of Seventeen Old Favorite Hymns MPRO members Laura Gonsalves, Linda Hagelin) played an eclectic mix of (published by Sweet Pipes). Anne Ng, Jean Ridley, Stevie White and background music for the garden party of Also in November, Eileen Hadidian Sonja Wilcomer, performing as the the Saratoga Historical Society. led the South Bay (CA) Recorder Soci- Crones, donned witch hats in October to Over in the next time zone, performing ety, through “Jewels of the Early 15th play for the 80th birthday party of former as Artifax, Greater Denver Chapter Century.” Noted music theorist and com- MPRO member Lee Hukill. (Guests also members played in November at the En- poser Johannes Tinctoris acknowledged received hats as they arrived.) glewood (CO) Library for a group of first the start of the Renaissance in his treatise Later in the month, the Crones played through third graders celebrating St. Mar- of 1477: “Although it seems beyond belief, for fifth and sixth graders at the Los Altos tin’s Day. The music ranged from Richard there does not exist a single piece of
44 American Recorder music, not composed within the last 40 years, that is regarded by the learned as worth hearing.” He identified the Burgun- dian Guillaume Dufay and Englishman John Dunstable as founders of the new style, with the sweet sound found in Eng- lish music of the 14th and 15th centuries Several members of the San Francisco gradually being incorporated into French (CA) Chapter performed on the autumn music. Hadidian also chose works by concert of the San Francisco Recorder those composers that demonstrate the Group, an informal group of recorder- transition from three-part to four-part lovers who have been meeting weekly in music. the home of Florence Kress for years. The P. I. Tchaikovsky’s “Mazurka” from free concert featured music from the Me- Swan Lake and Gershwin’s Someone to dieval period to modern blues by Jelly Roll Watch Over Me were two selections Morton. Pieces were played by the entire chosen by Phil Hollar for the November group as well as by small ensembles with Atlanta (GA) Recorder Society meeting. the large group. The SFRG also had sever- Two hours of music started with Dufay al holiday performances planned— and led into an tour of different musical Christmas music at Filoli Mansion and at styles. The Heritage retirement home, plus a A high school recorder group nurtured January concert at St. Mary’s Cathedral. by Judy Stephens is bearing fruit: new Baroque Etc. (above) proclaimed their SCHOLARSHIPS members for the West Suburban (IL) German idol to be J.S. Bach, playing two for recorder players to attend Early Music Society. The Boveris—two November all-Bach performances in Oak- recorder/early music of her students, along with their brother— land and Berkeley, CA. The group includes now attend WSEMS meetings. Dave plays string players, vocalists and continuo mu- alto recorder and Alex the mandolin, sicians with recorderists Kathy Cochran, SUMMER while Brian drums along on boudhran. Carl Lyngholm, Alan Paul and Glen WORKSHOPS The fall meetings of the Twin Cities Shannon, members of various Bay Area applications must be (MN) Recorder Guild followed the chapters. Who wouldn’t want to play (or postmarked by April 15; theme of English fantasias of the 16th and hear) the Brandenburg Concerto No. 4, plus 17th centuries. Music director Mary several delicious Bach cantatas? for recorder players to attend Halverson Waldo wrapped up the focus Seattle (WA) recorderists Charles recorder/early music in November with “some of the very best Coldwell and David Ohanessian were pieces of the genre”—works by Simpson soloists in Bach’s Cantata No. 106, and, of course, William Byrd. “Gottes Zeit,” on another all-Bach pro- WEEKEND At the previous month’s meeting, gram including orchestra in November. WORKSHOPS TCRG members shelled out a total of $78 Mounted by the Kirkland Choral Society throughout the year, to benefit the chapter in a silent auction of as part of its series, the concert matched apply two months excess music from the chapter library. the soaring architecture and acoustics of before funding is needed. North Winds Trio provided background Kenmore’s Bastyr University Chapel. Workshop scholarships are made music during the auction. The Seattle (WA) Recorder Society possible by memorial funds established to honor Andrew Acs, The Sound of Music was heard, literally, starts each meeting with a short perform- Jennifer Wedgwood Lehmann during the October Chicago (IL) Chap- ance—offered in November by Canzona, and Margaret DeMarsh. ter meeting. Patrick O’Malley conduct- an ensemble that hasn’t appeared in two AMERICAN RECORDER SOCIETY ed 13 or so members in an exploration of decades. Its present configuration is 1129 Ruth Dr. St. Louis, MO 63122 U.S.A. various recorder arrangements, touching founding members Peter Seibert, playing 800-491-9588 • 314-966-4649 (fax) [email protected] on how an arranger might handle a piece recorder, and Ellen Seibert, composed by someone else. Included playing mostly viol, along with were some of his own arrangements, a member they “grew” CHAPTER NEWS including those Sound of Music selections. themselves—soprano singer Chapter newsletter editors and publicity officers should Sometimes winter weather or conflicts Molly Seibert—plus August send materials for publication in American Recorder to : AR, 7770 South High St., Centennial, CO 80122-3122, can decrease chapter attendance—what’s Denhard, lute. The central piece by e-mail
January 2005 45 OPENING MEASURES ______Warm hands in winter
uring this cold, dark time of year, it is more vigorous your exercise, the warmer at your collarbone (right arm, left collar- Dimportant to keep making music— you will become. bone). With the other hand, take hold of important for yourself, and for all those Next, make sure your blood can con- your bent elbow and pull it forward and who hear you play. We must each bring as tinue to circulate well by freeing up your up across your body (a stretch for the much music as we can into the world. shoulder and neck muscles. Blood flow shoulder blade area). Hold for several But to make music well and happily we brings warmth to your outer extremities seconds, then try the other side. must have warm hands—or, at least, not (those marvelous fingers). The following horrid blocks of ice that actually cool exercises, done gently and mindfully, will Hands Behind down the air around them! I once lived in promote free movement and good circula- With arms loose at your sides, put your a rented room in a house whose owner did tion. hands behind you, clasping them lightly. not want me to turn on the heat (it cost too By the way, if your hands cool down Straighten your joined arms behind you. If much), so I learned how to keep my hands and grow cold during your playing ses- this is too slight a stretch, you can pull warm enough to play my recorders. Here sion, you can get up and do a couple of your linked hands upward, keeping your is what I learned. these stretches (or run downstairs to elbows straight. When you find a gentle When it is cold, it is very important for change the laundry, etc.) before resuming stretching point, hold it for several sec- us to find ways to keep our fingers supple your music. onds, then slowly relax and release your so that they can move freely, and so that hands. we will not injure ourselves. I am not a physician or physical therapist, but I can Good circulation Hands Above Head just feel that forcing cold hands into action is the first step With arms loose at your sides, bring your is not good for them. hands in front of you, clasping them Good circulation is the first step to to warm fingers. lightly. With elbows straight, raise your warm fingers. Begin with movement of joined hands above your head. For a your whole body: do whatever type of mo- NOTE: you know your body better than greater stretch, you can turn your palms tion you favor, be it yoga, running, chop- anyone. out to face the ceiling. Hold for a few ping wood, shoveling snow (or, here in · Do not do any stretch or exercise you seconds, then slowly lower your arms. California, sweeping my front walk), know is wrong for you. swimming, cleaning house—whatever · Do stretches carefully, making sure not Crossed Elbows (for the more flexible gets you to move all of your limbs, and gets to go further than a mild sustained among you) your heart pumping and your breath flow- stretch. Here’s a great stretch for the shoulder ing. You don’t need to exhaust yourself; · Do these exercises slowly without blade area, but it is very difficult to moderate movement is sufficient, but the jerking. explain. Let’s see how well I do. Raise both arms in front of you with el- Doorway (or corner - thanks, S.W.) bows bent at right angles. Put one elbow Stand in a doorway, one foot ahead of the over the other inside the bend of the arm, other (to keep from falling forward) with then twine your forearms around so that one hand on each side of the door frame. your palms can meet (one will be at a high- Lean gently forward to stretch the muscles er level than the other). Hold this position around your collar bone (the front of your for some seconds, keeping your upper shoulders). Hold for several seconds. arms more or less horizontal. You can keep your hands low, down by Slowly release your arms, wait a few your sides, or you can put your hands at seconds, then repeat, putting the other shoulder height, or above your head. In all arm over the previously upper arm. (That cases, be sure to stretch slowly without was tough to describe. I sure hope you got overstretching, and to keep your balance. it! If not, come to me at a workshop and I You can also do this standing in a cor- will demonstrate for you.) ner, upper arms horizontal at shoulder You do not need to do all of these height, elbows bent 90 degrees and fore- stretches—just a few of them will get your arms each against one wall. With one foot blood flowing and prepare you for playing forward, lean into the corner. recorder. To warm your hands further, you should do a few technique exercises that Arm Across always get my fingers supple and moving Bend one elbow so that your hand can rest freely.
46 American Recorder Trill Movements (from my book, The Recorder Player’s Companion) Provincetown Bookshop Editions Stand freely, balanced on both feet. Take up your recorder and cover all the holes. JUST OFF THE PRESS! Begin trilling with finger 7 (right hand little finger)—slowly, then gradually Andrew Charlton: Suite Moderne, for 3 Recorders (ATB) increasing speed and then slowing down A neo-Hindemithian Feast. gradually. (3 Playing Scores, PBE-44) ...... $9.95 Release finger 7 and do the same trill Michael East: “Desperavi”, Fantasia for 5 Viols or Recorders, with finger 6. Keep all six fingers on the recorder and trill with finger 5 (which will transcribed by David Goldstein. result in an incorrect fingering—it’s OK). (Score & Parts, PBE-46) ...... $7.95 Now keep all six fingers on the recorder Bernard Krainis: “Elijahu ha-Navi” (Elijah the Prophet) and trill with finger 4. Divisions & Tango on a Hebrew Tune, Release fingers 4, 5, and 6, and trill for Alto Recorder alone (PBE-45) ...... $8.95 with finger 3. Keep fingers 1, 2, and 3 on the recorder, trilling with finger 2—and A good source for Recorder & Viol Music of all publishers. then trilling with finger 1 and, finally, with finger 0. The Provincetown Bookshop, Inc. Remember always to play slow— 246 Commercial Street, Provincetown, MA 02657 Tel. (508)487-0964 to fast—to slow. I do this series twice.
Slurred Scale Pick a scale you know well, and can play Beatin’ Path Publications over 1½ to 2 octaves. Play slowly, slurring everything. Music That Works! Play the scale again, a little faster. Repeat, slightly faster each time, keeping Robert Amchin your hands relaxed. Alto Antics ensembles for beginning alto recorder with percussion accompaniment When you reach a speed at which you Recorder Frolics for beginning C-pipes (Play-along CD available) are no longer able to play smoothly, do one Moods and Modes for intermediate classroom ensembles: includes play-along CD last scale—beginning slowly, accelerating Brent M. Holl and Michael R. Nichols all the way to the top of the scale, then The Beatin' Path Consort Collection for beginning and intermediate ensemble gradually slowing on the way down. Michael R. Nichols Christian Harmony Sacred Harp (Shaped Note) music arranged for SATB consort Two other helpful ideas for keeping hands warm See our online catalogue of Church, 302 East College Street choir, Orff and recorder music at: Get yourself some wrist warmers: knit- Bridgewater VA22812 www.beatinpathpublications.com ted tubes that cover your forearms down 540-478-4833 to the place where your fingers sprout or visit your favorite music dealer from your hands. Some people like finger- less gloves or at least a thumbhole, but I don’t like to feel anything between my fingers, so I just use a knitted tube. If you knit or crochet, or know some- one who does you can have handmade wrist warmers. Otherwise you can just cut the feet out of a couple of socks. Either way, choose warm, non-scratchy yarn. (Here is a potential industry for someone: make wrist warmers and sell them to musicians who don’t knit!) When my hands are just too cold (envision icicles from every finger), I will soak my hands in warm water before playing or during a break. This really helps, and is particularly nice for those with arthritis. OK, off you go. Play music and stay warm! Frances Blaker
January 2005 47 recorderman.com CONSIDER ADVERTISING IN ______CLASSIFIED Recorder music and more! Learn to ______improvise.Energize your music program. ______Hear soundclips on the website. ______Email: [email protected] ______Phone: 1-800-230-3577 Full page ...... $565 2/3 page ...... $420 1/2 page ...... $345 1/3 page ...... $270 fine editions of early & contemporary music 1/4 page ...... $210 PRB PRODUCTIONS Where the haves 1/6 page ...... $165 1/8 page ...... $120 Peralta Avenue, Albany, CA and have-nots 1/12 page...... $ 90 Phone: -- Fax: -- of the recorder world 1 column inch ...... $ 55 E-mail: [email protected] Prices include web site/e-mail link directly from Web: www.prbmusic.com can find each other your ad in AR On-line,
FOR SALE: Alto Dolmetsch #9914, pearwood $175; Courtly Music Descant Dolmetsch #6919, rosewood $190. Both in ADVERTISER INDEX good, used, playable condition, From estate of profes- AMERICAN ORFF-SCHULWERK ASSN...... 43 sional. All proceeds from sales go to charity. Florindo J. AMERICAN RECORDER SOCIETY ...... 14, 33, 34, 41, IFC Unlimited Troncelliti, 255 W 108th St #7B1, New York NY 10025, 646-932-1895, [email protected]. BEATIN’ PATH PUBLICATIONS ...... 43 800-2-RICHIE STEPHAN BLEZINGER...... 26 AMERICAN RECORDER seeks articles on recorder: JEAN-LUC BOUDREAU ...... 9, 24
(800 274-2443) history, performance practice, artists and repertoire, BOULDER EARLY MUSIC SHOP...... 9 education, instrument building, etc. Also, photographs COLLINS & WILLIAMS ...... 41 and reports of news events. Will consider artwork, www.courtlymusic.com COURTLY MUSIC UNLIMITED...... 44 poetry, riddles, puzzles. Modest honoraria by special arrangement. Send inquiries to: American Recorder EARLY MUSIC AMERICA ...... 3 "Everything for the recorder Editor, 7770 South High St., Centennial, CO 80122 HONEYSUCKLE MUSIC ...... 27 enthusiast, or those who U.S.;
48 American Recorder