Recorder Reporter
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Recorder Reporter Newsletter of two chapters of the American Recorder Society (ARS), Chicago Chapter & the West Suburban Early Music Society March 2014 Volume 55, Number 7 Martin Luther’s 95 Theses in 1517, challenging the Chicago Chapter Events authority of the Catholic Church directly, and contending A great weekend! Nobody thought about snow or cold. for the souls of men as well as for their minds. The Andrew Schultze joined us for a lesson on February 16 continent was wracked with religious revolution and war about Austro-German music of the 16th and 17th centuries, from 1546 to 1648. The 30 Years War (1618-1648) and he brought along his choir too, the Syntagma Singers. ravaged much of Germany and disrupted government, This mixed group of 13 voices offered us their debut as an commerce, and the arts. An exhausted Europe came to a ensemble. They sang for us: tense settlement that allowed Germany and Scandinavia to be Lutheran and the Netherlands, Switzerland, England, & Scotland, Calvinist. After 1650, music making and composition revived in the German-speaking lands. The era was known for generations of gifted composers, including many who died too young; Herman Finck (1527-1558), a professor at Wittenburg, Paul Hofhaimer (1459-1537), organist at Salzburg Cathedral, Adam Krueger (1634-1666) of Leipzig, and Johann Schein (1586-1630), who produced great music despite suffering from tuberculosis, gout, kidney stones, and scurvy. Schein was one of the four German “Sch’s”of the 17th century, including Heinrich Schutz, Samuel Scheidt, Johann Schein, and Schomeone Else, namely, Michael Praetorius. His real name was Michael Schultze. Look, why can’t I do that? If Michael Schultze can call himself Chicago Syntagma in their first performance Michael Praetorius, and John Cooper can become And later they sang while we played: Giovanni Coprario, why can’t I impress other recorder players with something more compelling, and more Italian, than “Mark Dawson”? Please email your suggestions. We will publish them in the next newsletter. Anyway, we played, and heard sung for us, the original version of the old hymn O Sacred Head Now Wounded, which Bach adapted for his St. Matthew’s Passion, and which became the most enduring melody from the early 17th century. Before Bach, this hymn was a secular tune by Hans Leo Hassler, an emotional piece called Mein G ‘Mueth. We closed with a grand two choir piece by Hassler, an Austrian Catholic who studied under Giovanni Gabrielli in Italy, and who is most celebrated for his elegant Dixit Maria. In fact we had four choirs for Im Kuhlen Maien, two for recorder and two for voice. It was a wonderful afternoon. Andrew Schlutze will be Choral works with recorder accompaniment leading an ensemble offering the works of Henry Purcell Europe in the 16th century was a time of change and at Bond Chapel in Hyde Park on May 10 and at St. turmoil, with the Renaissance challenging customary Mark’s in Evanston May 11. We will provide more details thought and practice, and the Reformation, launched with soon for these events, and for the next performance of The Syntagma Singers. Recorder Reporter March 2014 Page 2 March Meeting in Oak Park For our March 16 meeting, join us at the Oak Park Public Library, 834 West Lake Street, as part of the Play the Recorder Month. We will gather in the lobby, starting at 2 PM, and Lisette will lead an open rehearsal. We welcome our friends from the West Suburban Early Music Society, and Pam Wiese plans to bring students from Longfellow School in Oak Park. Take the L to Oak Park Avenue and walk, or walk from the Metra stop. Parking is available. University of Chicago Folk Music Festival For the first time in 54 years the Annual University of Chicago Folk Music Festival provided a recorder workshop on Saturday, February 15. Six members of the Chicago chapter, Lynette Colmey, Mark Dawson, Ben Eisenstein, Arlene Ghiron, Nadine Petersen, and After that I returned to the West Lounge for a third time Esther Schechter, and led by Lisette Kielson, shared to hear Alioni, a group that sings folk music from the recorder music with a crowd of guests in the West Republic of Georgia. Lounge on the second floor of Ida Noyes Hall. We were joined by a new friend Chris Claytor. Followed later by music from Russia: Chicago chapter members play at the Folk Festival We first demonstrated two pieces, Alle psallite from the late 13th century, for both high and low choirs, and two sections from Handel’s Royal Fireworks. Then, we spread out among our audience, carrying instruments and stands, and Lisette directed everyone in playing works from the Elizabethan era. It was a blast. The music sounded great in the room, and we had an eager group of players in the audience. We met some people possibly interested in joining us for our monthly meetings, and offered brochures, business cards, and handshakes. We are already thinking about returning in 2015. A Hurdy Gurdy workshop followed immediately after our class at 11 AM, but I must admit that I crept out shortly before the end because I could hear a sweet blue I explained at the beginning of the workshop at the Folk grass band jamming outside. Music Festival that recorders were folk instruments too, folk instruments from the 16th century. And in fact we Recorder Reporter March 2014 Page 3 absolutely belong at the University of Chicago Folk performs 17th and 18th century works with her own trio, Music Festival. With choral groups representing Georgia Ensemble Elctra, and has been a returning guest with the and Russia, people strumming banjos and guitars, English Seattle Baroque Orchestra and the Medieval Women’s Country and Cajun dance bands, sacred harp and hurdy Choir, led by Margriet Tindemans. She has also traveled gurdy, we are part of a grand tradition of ordinary folk across the United States, Canada, and Europe offering gathering to make music together for no better reason than concerts and workshops. Boeckman lived in Denmark because they love creating something beautiful. Often the from 1981 to 2004, where she taught at the Royal Danish music making has been in a member’s living room, or Academy of Music in Copenhagen. After moving to parlor, or cottage, or tent, with no audience beyond family Seattle in 2004, Boeckman joined the faculty of the Music and farm animals. So we share in a tradition that is found Center of the Northwest and the early music program at all over the world and that has persisted for centuries. the Cornish College of the Arts, both in Seattle. Our eagerness to take part in this Folk event is part of The event is at the WSEMS regular meeting place, the our effort to keep our own traditions alive. The Chicago Naperville Evangelical Covenant Church, 1150 Hobson chapter has been meeting since 1959, and we are Road, at the SW corner of Naper Boulevard & Hobson. working hard to attract new members and friends. So far The $65 fee includes music, lunch, refreshments, and a we have played in public at the Chicago Public Library great time with friends. To learn more contact Kathy Hall and for the Folk Festival, with plans for the Oak Park –Babis, at [email protected], or call her at Public Library in March and Make Music Chicago in (630) 464-1828. You can also visit westsubems.org or June. We have buffed up our web site and brochure and ChicagoRecorders.org. sought to make our chapter known in other ways. Will our efforts succeed? Too early to tell. We see hopeful Quincy Workshop, April 4-6 signs, as newcomers have started to appear at our The Quincy, Illinois Early Music Consort presents their meetings or send us electronic mail. But either way we 19th annual Recorder and Double Reed Workshop, April are having a great time sharing our music with the rest of 4-6, with Louise Austin as the presenter. The cost is $30 Chicago. per session or $75 for all four sessions. To learn more call Mecki at (217) 430-2395 (cell) or (800) 747-0521 West Suburban Early Music Society (work), or email [email protected]. The February WSEMS meeting was led by Laura Kuhlman. For light comic appetizer, we started with a Music Coming Up Paul Schmidt arrangement of the theme from the English The Bach Week Festival returns! claymation series Wallace and Grommit. Laura led us Friday, March 21, 6:30 PM, celebrate Bach’s through a rigorous workout with our Salamone Rossi birthday at a private home in Evanston, great music pieces, Barechu, Hashivenu Elohim, and a new piece for a good cause. This is a fundraiser for the festival. which he had not previously played, Sinfonia à 5. After snacks, we broke into the Krumhorn, Library, and Friday, April 25, 7:30, three piano concertos and the Leftover groups. Jim Heup worked with the Leftovers on cantata Mensch, ich Sundenknecht. Then, 10 PM, consistent phrasing and articulation of the Kanon für drei candlelight concert. Music Institute of Chicago, gleiche Stimmen by Friedrich Kühn. We practiced 1490 Chicago Avenue, Evanston. playing the two parts in various combinations of players Friday, May 2, 7:30, several pieces including so that we would all be familiar with the sound. Brandenburg Concerto #6 and Concerto in D Major. Our next meeting will be on March 9 at the Naperville Anderson Chapel, North Park University, 5149 Covenant Church, followed shortly by our workshop on North Spaulding, Chicago. March 29. Hope to see everyone there!—Eric Stern Sunday, May 4, 2:30, several pieces including Mass in G Major, and Cantata Nun is das Heil und die WSEMS Workshop, March 29 Kraft.