W I N T E R 2 0

Published by the American Recorder Society, Vol. LIII, No. 5 • www.americanrecorder.org 2 1 0 2 r e t n i w Sopranino to Subba SS a well-tuned Con S o r t

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Soprano Alto Tenor (with double key) TE-4118 Plumwood with maple TE-4318 Plumwood with maple TE-4428 Plumwood with maple decorative rings decorative rings decorative rings Editor’s ______Note ______Volume LIII, Number 5 Winter 2012

n The Violinist’s Thumb, Sam Kean exam- Features ines (in a witty way) our genetic code . In Around the World with the Recorder . . . . . 8 oneI section, he relates two patterns without An expanded Tidings feature on obvious connection: music and encoding of DNA strands “It. turns out that universal the recorder around the world music does exist, only it’s closer than we ever Porque Llorax for Recorder Day! ...... 15 4 imagined, in our DNA ”. He describes DNA By Will Ayton sequences as music-like, with repeating motives and themes (later considering sepa- What We Have Learned About the Recorder rately how it governs traits like perfect pitch in the Last 50 Years ...... 18 or Paganini’s limber thumbs of the title) . Based on a lecture given at the ARS Festival Perhaps this demonstrates that, no mat- ter our geography or culture, music is in our By David Lasocki DNA—surely the case with the writers who Departments have shared their inspiring world stories 8 Jen Hoyer in South Africa, Nina (page 8): Advertiser Index and Classifieds ...... 32 Stern traveling to Kenya, Renata Pereira of Brazil and Mehrdad Teymoori in Iran . Chapters & Consorts ...... 31 ARS One advantage of attending the Music Reviews ...... 29 Festival last summer was being there in per- Christmas writings, and a journey to Germany son .While admittedly an article is not the same as sitting in a packed room, hearing On the Cutting Edge ...... 28 David Lasocki participants’ comments, Still time to celebrate John Cage’s birthday shares his musings on what we’ve learned 18 about the recorder in the 50 years since President’s Message ...... 3 Edgar Hunt’s landmark book (page 18) . ARS President Laura Sanborn Kuhlman asks Don’t forget to play the piece that each ARS member to let us know what you expect! Will Ayton has shared with ARS members Recorder Day! and Play-the-Recorder for Tidings ...... 4 Month (page 15)—and don’t miss the Focus on Business Members; Early Music America review of his Christmas Letters (page 29) . Gail Nickless hires Ann Felter; recorders in Make Music New York; www.youtube.com/user/americanrecordermag organization anniversaries: Suzuki Association of the 31 www.facebook.com/americanrecordermag Americas is 40, Society of Recorder Players is 75 www.facebook.com/AmerRec Technique Tip from David Coffin (page 30)

Gail Nickless, Editor ON THE COVER: Santacroce, Girolamo Contributing Editors Tom Bickley, Compact Disc Reviews • Frances Blaker, Beginners & Technique (1480/85-1556). Saint Thomas Becket enthroned with musical Timothy Broege, 20th/21st-Century Performance • Carolyn Peskin, Q & A angels and Saint John the Sue Groskreutz, Book & Music Reviews • Mary Halverson Waldo, Education Baptist [not shown] and Saint Advisory Board Francis of Assisi. S. Silvestro, Martha Bixler • Valerie Horst • David Lasocki • Bob Marvin Venice, Italy Thomas Prescott • Catherine Turocy• Kenneth Wollitz ©2012 ArtResource, NY www.AmericanRecorder.org Copyright©2012 American Recorder Society, Inc. ARS Chapters Alabama Illinois North Carolina Birmingham: Chicago: Dennis Sherman Carolina Mountains: Susan Hartley Janice Williams 205-870-7443 773-764-1920 423-612-0421 Arizona Chicago–West Suburban: Greenville Recorder Society James Heup 630-851-5364 John Shaw 252-355-2737 Desert Pipes Phoenix: Triangle: Mary McKinney AMERICAN George Gunnels 480-706-6271 Louisiana 919-489-2292 Arizona Central Highlands—Prescott: Baton Rouge: Cody Sibley RECORDER Georgeanne Hanna 928-775-5856 225-505-0633 Ohio Tucson: Scott Mason 520-721-0846 New Orleans: Victoria Blanchard Greater Cleveland: Edith Yerger SOCIETY Arkansas 504-861-4289 440-826-0716 inc. Aeolus Konsort: Maryland Toledo: Charles Terbille 419-536-3227 Don Wold 501-666-2787 Northern Maryland: Oregon Honorary President Bella Vista: Barbara McCoy Richard Spittel 410-242-3395 Eugene: Lynne Coates 479-855-6477 Erich Katz (1900-1973) Massachusetts 541-345-5235 California Honorary Vice President Boston: Betty Cohen 617-447-5412 Oregon Coast: Corlu Collier Winifred Jaeger Central Coast: Margery Seid Recorders/Early Music 541-961-1228 805-474-8538 Metro-West Boston: Portland: Zoë Tokar 971-325-1060 East Bay: Susan Jaffe 510-482-4993 Sheila Beardslee 978-264-0584 Pennsylvania Statement of Purpose Inland Riverside: Greg Taber Worcester Hills: Alan Karass The mission of the American Recorder Society 951-683-8744 508-847-8559 Bloomsburg Early Music Ens :. is to promote the recorder and its music by Monterey Bay: Susan Renison Michigan Susan Brook 570-784-8363 831-335-5869 Erie: Linda McWilliams developing resources to help people of all ages North Coast: Kathleen Kinkela-Love Ann Arbor: Margaret Bond 814-868-3059 and ability levels to play and study the recorder, 707-822-8835 734-665-6597 Philadelphia: Sarah West presenting the instrument to new constituencies, Orange County: Kalamazoo: David W . Fischer 215-984-8923 Jo Redmon 714-527-5070 269-375-0457 Pittsburgh: Helen Thornton encouraging increased career opportunities for Redding: Kay Hettich Metropolitan Detroit: Claudia 412-486-0482 professional recorder performers and teachers, 530-241-8107 Novitzsky 248-548-5668 Rhode Island Sacramento: Mark Schiffer Northwinds Recorder Society: and enabling and supporting recorder playing as 916-685-7684 Janet Smith 231-347-1056 Rhode Island: David Bojar a shared social experience. Besides this journal, San Diego County: Western Michigan: Jocelyn Shaw 401-944-3395 ARS publishes a newsletter, a personal study Vanessa Evans 619-297-2095 231-744-8248 Tennessee San Francisco: Greta Hryciw Minnesota program, a directory, and special musical 415-377-4444 Greater Knoxville: Ann Stierli editions. Society members gather and play Sonoma County: Dale Celidore Twin Cities: Anne Mundahl 828-877-5675 together at chapter meetings, weekend 707-874-9524 651-895-5049 Greater Nashville: Carol Vander Wal South Bay: Liz Brownell 408-358-0878 Nevada 615-226-2952 and summer workshops, and many Southern California: Sharon Holmes Southern Middle Tennessee ARS-sponsored events throughout the year. Sierra Early Music Society: 310-379-2061 Kathy Bohrer 775-393-9002 (Tullahoma): Vicki Collinsworth In 2009, the Society entered its Colorado New Hampshire 931-607-9072 eighth decade of service to its constituents. Boulder: Mike Emptage 970-667-3929 Texas Monadnock: Denver: Jon Casbon Kristine Schramel 413-648-9916 Austin: Dave Melanson 512-495-4180 Fort Collins: Cindy Henk & Lynn Herzog 802-254-1223 Dallas: Alice Derbyshire Board of Directors 970-988-0160 New Jersey 940-300-5345 Laura Sanborn-Kuhlman, President Early Music Society of Western CO: Rio Grande: Sylvia Burke Cynthia Shelmerdine, Vice-President, Bev Jackson 970-257-1692 Bergen County: 575-522-1742 Scholarships & Grants Chair Connecticut Mary Comins 201-489-5695 Utah & Reita Powell 201-944-2027 Connecticut: Elise Jaeger 203-792-5606 Tony Griffiths, Secretary Utah Salt Lake: Mary Johnson Eastern Connecticut: Joyce Goldberg Highland Park: Donna Messer 801-272-9015 Jennifer Carpenter, Asst. Secretary, 860-442-8490 732-828-7421 Marketing/Public Relations Chair Montclair Early Music: Vermont District of Columbia Julianne Pape 845-943-0610 Ann Stickney, Treasurer, Finance Chair Washington: Vicki Walter Navesink: Lori Goldschmidt Monadnock: Greg Higby, Asst. Treasurer, Publications Chair 301-891-1367 732-922-2750 Kristine Schramel 413-648-9916 Valerie Austin, Education Chair Delaware Princeton: Skip Kestler & Lynn Herzog 802-254-1223 609-683-0358 Virginia Mark Dawson, Membership Chair Brandywine: Roger Matsumoto New Mexico Bonnie Kelly, Chapters, 302-731-1430 Northern Virginia: Edward Friedler Florida Albuquerque: Bryan Bingham 703-425-1324 Recorder Orchestras & Consorts Chair 505-299-0052 Shenandoah (Charlottesville): Matt Ross, Governance Chair Ft . Myers: Sue Groskreutz Flat & Baroque in Las Vegas: Gary Porter 434-284-2995 Nancy Buss Lisette Kielson 239-267-1752 Tom Curtis 505-454-4232 Tidewater (Williamsburg): Largo/St . Petersburg: Rio Grande: Sylvia Burke Vicki H . Hall 757-784-2698 Jeanne Lynch Mary McCutcheon Elizabeth Snedeker 727-596-7813 575-522-1742 Washington Miami: Ruth Trencher 305-665-3380 Santa Fe: Gus Winter 505-603-8034 Orlando Consort: Sheri Grayson New York Moss Bay: James Verschaeve Staff 407-299-3076 253-249-4272 Kathy Sherrick, Administrative Director Palm Beach: Gail Hershkowitz Buffalo: Mark Jay 716-649-1127 Seattle: Tomo Morita 425-301-5767 10000 Watson Rd., Ste. 1L7 561-732-5985 Hudson Mohawk: Lee Danielson Wisconsin Sarasota: Nancy Paxcia-Bibbins 518-785-4065 Saint Louis, MO 63126 U.S. 941-536-0621 Long Island: Barbara Zotz Milwaukee: Carole Goodfellow 800-491-9588 toll free Georgia 631-421-0039 262-763-8992 New York City: Gene Murrow Southern Wisconsin: Greg Higby 314-966-4082 phone Atlanta: Mickey Gillmor 404-872-0166 646-342-8145 608-256-0065 866-773-1538 fax Hawaii Rochester: Jessica Brennan Canada [email protected] Hawaii: Irene Sakimoto 808-734-5909 585-683-2802 www.AmericanRecorder.org Big Island: Roger Baldwin Rockland: Jacqueline Mirando Edmonton: Nils Hahn 780-443-3334 808-935-2306 845-624-2150 Montréal: Mary McCutcheon West Hawaii Recorders: Westchester: Erica Babad 514-271-6650 In accordance with the Internal Revenue Service 914-769-5236 Toronto: Sharon Geens 416-699-0517 Taxpayer Bill of Rights 2, passed by the United States Marilyn Bernhardt 808-882-7251 Idaho Vancouver: Tony Griffiths Congress in 1996, the American Recorder Society makes 604-222-0457 freely available through its office financial and Les Bois (Boise): Kim Wardwell incorporation documents complying with that regulation. 360-202-3427 Please contact the ARS office to update chapter listings.

2 Winter 2012 American Recorder President’s Message ______Greetings from Laura Sanborn Kuhlman, ARS President [email protected]

t has been four years since I got an cially Lisette Kielson, who I served I challenge each member e-mail from Alan Karass asking if with for the last four years . She was a of the ARS to let us know I would be interested in being on the powerful leader and did astounding what you expect. American Recorder Society Board .You work on behalf of the ARS . could only imagine my astonishment I remind myself of the reason I got and one that at times seems daunting . as I yelled to my husband, “I’ve been involved with the ARS and why we all, We ask ourselves all the time, “What asked to be on the Board of the ARS!” as members, are invested in our organi- do our members want from the ARS? “How did they even know who zation . During a speech I heard on TV How can we serve them better? What I am?” I wondered . It didn’t matter not long ago, the speaker said that, as are they thinking when they read our because I was hooked . Now I sit in voters, no matter our political affilia- magazine, Facebook pages, blogs and front of my computer, on a plane to tions, we own the United States . As newsletters? Are we doing enough?” Washington, D C. ,. about to become members of the ARS, we own the I challenge each member of the the next president of the ARS­—kind ARS! This is our organization . ARS to let us know what you expect . of a fitting setting . As a Board, we are faced with the We want to hear from you and make But before I get ahead of myself, task of guiding the ARS through the this the ARS you want to support . I have to acknowledge the amazing year and ensuring its stability for gen- I am so excited for the ARS and people who came before me—espe- erations to come .That is a huge task the possibilities that lie ahead for us . In the ARS News­letter, you will read about some of the exciting opportuni- ties that have been supported due to our successful Festival this past July . It is because of the passion of the ARS Board and members at large that we can fund some of the projects that have been on the “back burner ”. It is because of each of you, members of the ARS, that we are successful in our endeavors .We all care enough to sup- port that which is important in our lives . . the recorder! I challenge each member to find your passion, spread your gifts of talent with others and bring your stories back to the ARS, so we might share and cel- ebrate together .We are all stewards of the ARS, and each member is part of the larger picture . I am humbled to be sitting at the head of the table, but I am ready to serve and guide as we travel this jour- ney together .“What would you attempt to do if you could not fail?”

www.AmericanRecorder.org Winter 2012 3 Tidings ______Happy birthday, Suzuki Association & Society of ______Recorder Players; EMA hires executive director

rhythmically Early Music America (EMA) has demanding appointed Ann Felter as its executive Brazilian director, following the retirement of music, and Maria Coldwell . Best known in the Crye by Chris­ early music world as executive director topher Tye . (1999-2008) of Pittsburgh (PA) Ren­ In concert ais­sance & Baroque, Felter has a record with other of working with boards and artists, and young profes- has produced special events and diverse sional musi- programs for nonprofit organizations . cians represent- During the Berkeley Festival last ing a variety of June, EMA presented its 2012 awards Suzuki instru- recognizing outstanding accomplish- ments, Pereira ments in early music . José Verstappen, performed artistic director of Early Music Van­ Dario Castello’s couver (EMV), received the Howard Recorder teachers and students from Sonata Prima for a fascinated audience . Mayer Brown Award for lifetime Canada, Bermuda, Brazil and the U S. . Musical “Olympics” was the theme achievement in the field of early music . gathered for the 14th conference of the at the Suzuki Flute and Recorder For some years the presenter of a sum- Suzuki Association of the Americas Sum­mer School in Great Malvern, mer institute with recorder instruction, (SAA) in Minneapolis, MN, in May . UK, in August . Recorder teachers from EMV continues its summer offerings, The SAA celebrated its 40th anniver- Belgium, England, Finland, Germany, including fully-staged Baroque opera sary with master classes, concerts, lec- Holland and Ireland attended, as well in conjunction with Festival Vancouver . tures and research symposia . Renata as Dutch and British students of all Harpsichordist Arthur Haas, Pereira of Brazil (above, right) taught ages .The final concert took place in the known for many solo and continuo recorder master classes to students ages 11th-century Malvern Priory .Teacher performances and recordings, includ- 8 to 15 . Students and teachers played Trainers were Nancy Daly (England), ing those of the Suzuki Recorder School recorder consort music, including and Mary Halverson Waldo (U S. ). . with Marion Verbruggen, received the Thomas Binkley Award for outstand- Provincetown Bookshop Editions ing achievement in performance and scholarship by the director of a univer- “GO FOR NEO-BAROQUE!” sity or college early music ensemble . Andrew Charlton: Partita Piccola. For 4 Recorders (SATB) Chatham Baroque (Andrew [Prelude; Allemande; Courante; Musette— Fouts, Baroque violin; Patricia a neo-baroque epitome!] (Score & Parts, PBE-25) . . . $7.95 Halverson, gamba/violone; Scott Andrew Charlton: Suite Moderne. For 3 Recorders (ATB) Pauley, theorbo/lute/Baroque guitar) [Baroque shapes but Hindemithian harmony] was recipient of EMA’s Laurette (3 Playing-Scores, PBE-44) ...... $9.95 Goldberg Award for lifetime achieve- Southwest of Baroque. David Goldstein’s “baroque Suite” ment in early music outreach, honoring on Cowboy Songs. For 2 Recorders (SA) (PBE-2) . . $3.50 its 21 years of community events such as the wildly popular Peanut Butter & A good source for Recorder & Viol Music of all publishers. Jam Sessions, for preschool children The Provincetown Bookshop, Inc. and their accompanying adults, in 246 Commercial Street, Provincetown, MA 02657 Tel. (508)487-0964 conjunction with Kindermusik .

4 Winter 2012 American Recorder Recorders in New York City American Recorder Society Publications Musical Editions from the Members’ Library: By Anita Randolfi, New York City, NY ARS members: 1 copy-$3, 2 copies-$4.50, 3-$6, 4-$7.50, 5-$10, 6-$11.50 Non-members (editions over 2 years old): 1 copy-$5, 2 copies-$8.50, 3-$12, 4-$15, 5-$19.50, 6-$23 Arioso and Jazzy Rondo (AB) Carolyn Peskin LeClercq’s Air (SATB) Richard E. Wood On June 21, the first day of summer, Belmont Street Bergamasca (ATB) Sean Nolan Little Girl Skipping and Alouette et al Berceuse–Fantaisie (SATB) Jean Boivert (SATBcB) Timothy R. Walsh New York City invited musicians Bruckner’s Ave Maria (SSATTBB) Los Pastores (S/AAA/T + perc) of all stripes to give concerts on the Jennifer W. Lehmann, arr. Virginia N. Ebinger, arr. Canon for 4 Basses (BBBB) David P. Ruhl New Rounds on Old Rhymes (4 var.) streets, as well as in parks and other Dancers (AT) Richard Eastman Erich Katz Danse de Village (SAB) Kevin Holland Nostalgium (SATB) Jean Harrod green spaces .The only requirement Different Quips (AATB) Stephan Chandler Other Quips (ATBB) Stephan Chandler to participate in “Make Music Elegy for Recorder Quartet (SATB) Poinciana Rag (SATB) Laurie G. Alberts Carolyn Peskin Santa Barbara Suite (SS/AA/T) Erich Katz New York” (MMNY) was that the Elizabethan Delights (SAA/TB) Sentimental Songs (SATB) David Goldstein, arr. Chel- Jennifer W. Lehmann, arr. Serie for Two Alto Recorders (AA) event be free and open to all . Faded Memories/Opus 88 (ATBB/SATB) Frederic Palmer sea Winds Recorder Ensemble William Ruthenberg Slow Dance with Doubles (2 x SATB) Fallen Leaves Fugal Fantasy (SATB) Colin Sterne (Gregory Eaton, David Hurd, Barrie Dominic Bohbot Sonata da Chiesa (SATB) Ann McKinley Four Airs from “The Beggar’s Opera” (SATB) S-O-S (SATB) Anthony St. Pierre Mosher and me) was lucky to secure Kearney Smith, arr. Three Bantam Ballads (TB) Ann McKinley the Gen­eral Theo­logical Seminary Gloria in Excelsis (TTTB) Robert Cowper Three Cleveland Scenes (SAT) Carolyn Peskin He Talks, She Talks (AT) Bruce Perkins Three in Five (AAB) Karl A. Stetson garden for its program .The tempera- Havana Rhubarb Rhumba (SATB up to Tracings in the Snow in Central Park (SAT) 7 players) Keith Terrett Robert W. Butts ture was in the 90s, so performers Idyll (ATB) Stan McDaniel Trios for Recorders (var.) and audience alike were grateful for Imitations (AA) Laurie G. Alberts George T. Bachmann In Memory of Andrew (ATB) David Goldstein Triptych (AAT/B) Peter A. Ramsey the huge, old shade trees gracing the In Memory of David Goldstein (SATB) Two Bach Trios (SAB) William Long, arr. Will Ayton Two Brahms Lieder (SATB) garden . In keeping with the theme, Lay Your Shadow on the Sundials (TBgB) Thomas E. Van Dahm, arr. the program included Vivaldi’s Con­ Terry Winter Owens Variations on “Drmeš” (SATB) Martha Bishop Leaves in the River (Autumn) (SATB) Vintage Burgundy (S/AS/ATT) certo Rustica and Sumer Is Icumen In . Erik Pearson Jennifer W. Lehmann, arr. Unfortunately I was unable to ARS Information Booklets: attend a bigger recorder presence in ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 MMNY . Deborah Booth led a siz- Non-members: 1 booklet-$18, 2 booklets-$33, 3-$44, 4,$55, 5-$66, 6-$76, 7-$86 *Free online to ARS members able group in a recorder reading ses- Adding Percussion to Medieval and Improve Your Consort Skills Susan Carduelis sion right out on upper Broadway . Renaissance Music Peggy Monroe Music for Mixed Ensembles *American Recorder Music Constance Primus Jennifer W. Lehmann Founded in 2012 by alumni and Burgundian Court & Its Music *Playing Music for the Dance Louise Austin students of the Julliard School’s early Judith Whaley, coord. *Recorder Care Scott Paterson music practice program, New York Education Publications Available Online and Free to Members Baroque Incorpo­rated The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). (NYBI) has Guidebook to the ARS Personal Study Program (1996). as its goal to bring “vital, informed, ARS Music Lists. Graded list of solos, ensembles, and method books. and fresh performances of the great Videos Available Online to All repertoire of the 17th and 18th cen- Recorder Power! Educational video from the ARS and recorder virtuoso John Tyson. An exciting resource about teaching recorder to young students. turies ”. They met that goal in their Pete Rose Video. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music August 19 program at Le Poisson Festival recital. The video features Rose performing a variety of music and in an interview with ARS member professional John Tyson. Rouge: “The Red Priest at The Red Fish ”. Most of the music was by the Other Publications Chapter Handbook. A resource on chapter operations for current chapter leaders or those red priest, Antonio Vivaldi . considering forming an ARS chapter. ARS members, $10; non-members, $20. The second half spotlighted the One free copy sent to each ARS chapter with 10 members or more. Consort Handbook. Available Online and Free to Members. excellent recorder soloist playing of Resource on consort topics such as group interaction, rehearsing, repertoire, performing. Priscilla Smith in two Vivaldi Shipping & Handling Fees: Under $10 - add $3; $10-19.99 - add $4; $20-29.99 - add $5; $30-39.99 - works: Concerto in F, RV433, “La add $6; $40-49.99 - add $7. All prices are in U.S. dollars. For Canadian or foreign postage, pay by credit card Tempesta di Mare,” and variations on and actual postage is charged. Please make checks payable to ARS. VISA/MC/AMEX/Disc also accepted. “La Follia ”. The latter was arranged See www.AmericanRecorder.org for complete publication offerings, for sale and free to members. for alto recorder and strings by NYBI first violin Daniel S . Lee . I look for- ARS, 10000 Watson Rd., Suite 1L7 ward to hearing more from this St. Louis, MO 63126 U.S. 800-491-9588 group in the future . [email protected]

www.AmericanRecorder.org Winter 2012 5 Happy 75th Anniversary, SRP! During 2012, the Society of Recorder Players (SRP), our sister society in the UK, has celebrated its 75th anniver- sary by holding special events, includ- ing an exhibition of documents and photos at its national festival last April and a reception following the SRP/ Moeck Competition recital last month . The SRP’s first musical directors were Carl Dolmetsch and Edgar Hunt, joined later by Walter Berg­ mann and Freda Dinn .The London- based organization gained about 200 members in its first year . The summer issue of The Recorder Magazine included a commissioned music piece (Marg Hall’s Happy Birth­ day, SRP!, played stateside during the recent ARS Board meeting), plus pho- tos and reflections on the SRP’s past . Some “old chestnuts” that have come up for continuing discussion by the SRP mirror ARS concerns: encourag- ing young people to play, the recorder’s image, and number of members .

prescott Workshop 14 Grant Road Hanover, New Hampshire 03755 • USA 603.643.6442 Phone email: [email protected] www.prescottworkshop.com Devoted to making recorders of the finest possible quality for nearly 40 years.

6 Winter 2012 American Recorder FOCUS ON ARS BUSINESS MEMBERS AMERICAN ORFF-SCHULWERK ASSOC. HONEYSUCKLE MUSIC state-by-state, and locally . As a company of music educators, Karen Benson, President Jean Allison-Olson Peripole, Inc . sees itself as having a key leadership role to PO Box 391089, Cleveland, OH 44139-8089 1604 Portland Ave, St . Paul, MN 55104 play in helping to establish and maintain the highest possi- 440/543-5366; Fax: 440/543-2687 651/644-8545 ble standards in music education, thus helping to bring [email protected]; www.aosa.org [email protected] those standards to classrooms all over North America . The American Orff-Schulwerk Association (AOSA) is a www.honeysucklemusic.com Peripole, Inc . instruments are also used in Music Therapy, professional organization of educators dedicated to the cre- Selling Yamaha, Aulos, Moeck, Kelhorn, recorders as community musical activities and programs, and by individ- ative music and movement approach developed by Carl well as recorder method books, a wide variety of recorder ual musicians . Sole-source distributors of the Peripole Orff and Gunild Keetman . Our mission is: sheet music, recorder music for large groups & recorder Angel Halo Soprano and Alto Recorder • to demonstrate the value of Orff Schulwerk and promote orchestras and music arranged for recorder & other its widespread use; instruments .We have Susan Lindvall recorder music PRESCOTT WORKSHOP • to support the professional development of our members; arrangements .You will find among our accessories Thomas M . & Barbara C . Prescott • to inspire and advocate for the creative potential of all recorder cases, stands, wooden thumb rests and more . 14 Grant Rd ,. Hanover, NH 03755-6615 learners . We carry music for flutes, crumhorns, ocarina, tabor 603/643-6442; Fax: 603/643-5219 Founded in 1968, membership in the American Orff- pipe, native flute, tin whistle, bodhran, guitar, strings, [email protected]; www.prescottworkshop.com Schulwerk Association has grown to include 4,000 music fiddle, dulcimer, harp, reed, harmonica, bagpipe, key- Prescott Workshop is devoted to making recorders of educators, musicians, industry partners, and related profes- board, dulcimer, voice and choral music . the finest possible quality . All instruments are personally sionals . AOSA fosters the utilization of the Orff Schulwerk made by master-craftsman Thomas M . 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[email protected]; www.aulos.jp/en sion and other folk instruments, as well as sheet music, 10% Discount on purchases made by ARS Members Toyama manufactures recorders under the Aulos brand, method books, fingering charts, thumbrests, books, humidi- (reference coupon code in our ad in this magazine) . along with a broad line of elementary musical instruments . fiers, note cards, tuners, cases, music clips, oil, cork grease, The Aulos Collection features superb voicing, patented MOECK MUSIKINSTRUMENTE + metronomes, recorder stands, anti-condensation solution, double joint permits smooth joining with no air leaks, con- VERLAG e.K. music stands and swabs . structed of strong, high-class ABS resin and excellent into- Sabine Haase–Moeck nation throughout full range of instrument . (U S. . Agent: EARLY MUSIC AMERICA Lückenweg 4 D-29227 Celle GERMANY Rhythm Band Instruments, Inc ). Ann Felter, Executive Director 49-05141088530; Fax: 49-05141-885342 2366 Eastlake Avenue E . #429, Seattle, WA 98102 [email protected]; www.moeck.com VON HUENE WORKSHOP/ 206/720-6270 or 888/SACKBUT; Fax: 206/720-6290 Family-owned enterprise in the third generation EARLY MUSIC SHOP OF NEW ENGLAND [email protected]; http://earlymusic.org pro­ducing high-end recorders and publishing recorder Eric Haas, 65 Boylston St ,. Brookline, MA 02445-7694 Early Music America (EMA) is a not-for-profit music, books on music and Tibia Magazine for 617/277-8690; Fax: 617/277-7217 service organization for the field of historical performance Woodwind Players. Moeck organizes courses for recorder [email protected]; www.vonHuene.com in North America . Founded in 1985, EMA’s goal is to players and promotes the recorder on a professional level The Von Huene Workshop, Inc ,. founded in 1960 by expand awareness of, and interest in, the music of the by awarding prizes at the Moeck/SRP Recorder Playing Friedrich and Ingeborg von Huene, makes, sells and Medieval, Renaissance, Baroque and Classical periods . Competition in London, the Mont­­réal International repairs fine Renaissance and Baroque historical wood- EMA’s members receive a quarterly magazine, bulletins, and Recorder Competition and others . winds . Its affiliate, the Early Music Shop of New England, benefits including access to reduced-rate insurance, dis- is a retail store and mail-order division of the Von Huene PERIPOLE, INC. counts on publications, concerts and festivals, and eligibility Workshop that sells recorders, flutes, reed instruments, for awards and scholarships .With its broad membership, Dr . 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www.AmericanRecorder.org Winter 2012 7 Around the World with the Recorder

At the End of a Long Dirt Road is by composers who are long dead is volunteer recorder teacher in a small one of the latter . African village . By Jen Hoyer, Music Director, Keiskamma The Keiskamma Music Acad- Music education at Keiskamma Music Academy, Hamburg, South Africa, emy (KMA) is part of the Keiskamma includes lessons on recorders, orches- [email protected] Trust (www.keiskamma.org), a non- tral instruments, and indigenous profit organization in Hamburg, South Xhosa instruments, as well as music “Hey Jen! I saw Mozart yesterday!” Africa that strives for holistic wellbeing theory and ensemble classes . For a It’s 7:30 in the morning . I’m walk- through a combination of art, educa- small, rural village where opportunities ing down a dirt road in a dusty village tion and health promotion .The Music for growth and personal development at the absolute end of the world, on Academy has been introducing disad- are rare, music lessons present a life- my way to teach recorder lessons . I’ve vantaged children to music through changing experience for children just run into one of my students . He’s rigorous instruction since 2006; when who have the commitment and perse- 12 years old, dressed in a tracksuit and I learned of the program in 2011, I was verance to meet the demands of an purple hightops . It takes just about intrigued by the idea that the recorder intense extracurricular program . every ounce of determination to could cross borders and make itself at My students exceed every expec- keep my face serious . home in rural Africa . tation . One chilly afternoon I found “Hey Jen! I saw Mozart yesterday!” In 2011 I quit my librarian job myself reproaching a beginner student Really? Where did you see him? in Canada to venture overseas as a for not using the dynamics and phras- “On the television . ing discussed in a previous lesson; He was playing the piano ”. I demonstrated what I wanted to Cool .Was it nice? hear on my own recorder . “Yeah!” As he took a deep breath to begin, There are battles that you I felt a twinge of guilt . He practices on fight .There are also battles a clear blue plastic soprano, and I’ve that you completely abandon . just demonstrated correct phrasing As a recorder teacher in rural with a top-of-the-line wooden recorder South Africa, the struggle to that cost more than most monthly convince my students that household incomes in the village . most of the music they play He played exactly what I had asked for . Excellence isn’t uncommon . Each child at KMA begins on recorder in solo and ensemble instruction; advanced students take up an orches- tral instrument as well . Students enter exams administered by the University of South Africa (UNISA) and have no trouble achieving success . In 2011, over 70% of instrumental and theory exam results from KMA qualified as Distinc­ tions (scoring above 80%); 20% quali- fied for Roll of Honor (above 90%) . These students are also busy as performers . In 2011, the Keiskamma Ensemble toured to Cape Town and Stellenbosch, where 12 advanced stu- dents were soloists with Camerata

8 Winter 2012 American Recorder Tinta Barocca .This was followed by a Christmas tour of the Garden Route with performances at exclusive resorts Order your and game parks along the Western Cape between Cape­town and Port Eliza­beth on the Indian Ocean . In recorder discs 2012, their fringe production at South Africa’s National Arts Festival in July through the won a Standard Bank Ovation Award; in November they gave a series of per- ARS CD Club! formances, presented by the National The ARS CD Club makes hard-to-find or limited release Arts Council of South Africa for the CDs by ARS members available to ARS members at Season of France in South Africa . the special price listed. All CDs are $15 ARS members/ $17 Others unless marked otherwise. Add Shipping and Handling: $2 for one CD, $1 for As a teacher, I occasionally reflect each additional CD. For an updated list of all CDs: www.americanrecorder.org. on how surreal it is to wander down a dirt road in rural Africa with a bag of WANT SOME WORLD MUSIC? recorders over my arm . I am privileged ____Circle of the Dance, Alma Brasileira Cléa Galhano, recorders; Joan Griffith, guitar, cavaquinho, mandolin; Lucia Newell, voice. to have a more-than-fulltime schedule Three connections to the country & music of Brazil create music full of life & love. 2010 of students who are completely ____Rose of the Compass focused on this instrument . My per- Nina Stern, recorders & chalumeau; Ara Dinkjian, oud; Shira Kammen, violin & vielles; ceptions of the recorder and its capa- Glen Velez, percussion. Medieval Italy to Armenia, the Balkans to the Middle East. 2011 bilities are constantly challenged as my ____The Lost Mode students bring a new set of eyes and Annette Bauer, recorders; Shira Kammen, vielle, harp, violin; Peter Maund, percussion, Derek Wright, oud. Music from the Middle Ages, plus melodies from Sephardic, North ears to music that sometimes seems African, Armenian, Breton, Basque modal traditions. 2010 stale in North American classrooms . Their determination and dedication HOLIDAY FAVORITES challenges expectations of what we can ____Renaissance Glory—Christmas with The Festival Consort achieve when we put our mind to it . Christmas music featuring voices, recorders, and crumhorns. 2006 It is refreshing to work with stu- ____Music for a Winter’s Eve, Bringing Light to the Darkness Healing Muses: Eileen Hadidian, recorder, Baroque flute; Susan Rode Morris, soprano; dents who carry no baggage about the Shira Kammen, violin; Maureen Brennan, Celtic harp; Julie Jeffrey, viol da gamba. recorder and its music; no one has ever Traditional, Renaissance and Medieval song and dance to celebrate midwinter. 2003 told these children that the recorder ____In Nova Cantica, a Celebration of Christmas isn’t cool .This beautiful innocence Healing Muses. Medieval & traditional carols, chansons & festive dances. 2003 means that they see the truth more ____Carols for Dancing clearly than most of their peers: they John Tyson, recorders. These 24 instrumental arrangements were made by Renaissonics for an NPR special hosted by Sound & Spirit’s Ellen Kushner. 2006 recognize a good piece of music when ____A Breath of Christmas they hear it, whether the composer is Charmaine Delmatier, recorder, flute, keyboard; Candace LiVolsi, harp. Vivaldi or British singer Adele . Holiday easy listening, familiar Irish, European & American melodies. 2011 There is joy and fresh exuberance that comes from hearing old music Please indicate above the CDs you wish to order, and print clearly the following: again for the first time . One hot Sat­ Name:______Daytime phone: (____) ______urday morning, I distributed music for Address: ______City/State/Zip:______a small ensemble to practice a new _____ single CDs x $____ = $______arrangement of Corelli’s Christmas _____ 2-CD sets x $____ = $______Shipping/Handling: $2 for one CD, $1 for each additional CD $______Concerto .When I returned 20 minutes _____ Check enclosed for TOTAL $______later, two students were beatboxing an _____ Please charge the above amount to my MasterCard, Visa or AmEx: # improvised percussion part along with ______Exp. Date: ______Cardholder’s signature:______the recorder quintet . Corelli might be rolling in his grave, but a group of Mail to: ARS, 10000 Watson Rd., Suite 1L7, Saint Louis, MO 63126 U.S. African children are tapping their feet Fax a credit card order to 866-773-1538 and singing the Pastorale theme as they walk back home to do chores . www.AmericanRecorder.org Winter 2012 9 Continuing to Teach in Kenya derful traditional songs and dances . By Nina Stern, Artistic Director, As moving and mean­ S’Cool Sounds, New York City, NY ingful as this experience was, I have been haunted In the Istanbul airport, waiting for by the fact that what I had my connecting flight back home, I shared with the students reflected upon my second visit to was not sustainable: there Kenya in February 2012 . I had gone was no one at the school again to share music with children who could continue the in the Kibera slum of Nairobi, travel- work I had started . In my ing once again with Cross Cultural second visit, I thought to Thresh­olds (CCT) .This non-profit gather a small group of organization partners with grassroots teachers and teenagers and leaders in Kenya to help educate and work intensively with them, provide nourishment and health care in the hopes that they to underserved children . would later pass on what During my first time in Kibera, they learned from me to in June 2010 (see the November 2010 younger students . AR), I worked with a group of children We created a “music at the Drug Fighters School . Over the team” (photos, right) at course of four days, I taught them a few FAFU (Facing the Future), I have been haunted by simple songs on plastic soprano record- another CCT partner . FAFU is a day- the fact that what I had care center, feeding program, school, ers . Over 100 such instruments, which shared with the students I carried from New York in a large duf- and youth after-school program, fel bag, had been donated by a group of founded by visionary local leader was not sustainable: there Bronx school children who had studied Simeon Ajigo . Ajigo grew up in Kibera was no one at the school with me through the S’Cool Sounds and has worked there for many years, who could continue the program (www.scoolsounds.org) . helping to create safe and nurturing work I had started. In Kibera, we added percussion environments for at-risk children . parts to the melodies, with students Ajigo had hand-picked the five New York City were engaged in a cul- layering several rhythms played on members of our new music team tural exchange with the children at drums, shakers and claves made of ani- from his staff and youth group . For FAFU . Each of the second graders mal bones salvaged from local butcher several days we worked hard together: (who participated in a 15-week music shops .The joyous results were shared learning the notes on the recorder, program with S’Cool Sounds last win- with the entire school (over 300 stu- making a beautiful sound on the ter) now has an individual pen pal at dents) and American volunteers there instrument, and reading music . FAFU .They exchanged letters and to build them a new dormitory .The This time I had brought method videotaped musical messages, begin- children also shared some of their won- books along, so that the team would ning a relationship continuing this fall . have something to work with after my A member of the music team SWEETHEART departure .The team was enthusiastic at FAFU is now a salaried Music FLUTE CO. about playing their new instruments, Coordinator, with responsibility to Baroque Flutes: our own eager to learn, and not afraid to work keep the team moving forward and “Sweetheart” model hard .They made great progress while I ultimately to begin teaching recorder Fifes, Flageolettes “Irish” Flutes & Whistles. was there .They, too, shared some of to the school’s younger students . I have Send for brochure and/or their beautiful traditional songs with met and will continue to meet with the antique flute list. me . I have begun to teach these songs music team periodically on Skype, so 32 South Maple Street to children at S’Cool Sounds partner that I can continue to guide them . Enfield, CT 06082 (860) 749-4494 schools in New York City . Of course, I look forward to my [email protected] By July, the children at the East next trip in February 2013, when we www.sweetheartflute.com Village Community School (EVCS) in will again make music together .

10 Winter 2012 American Recorder The Recorder in Brazil was formed, which performed several Kanji’s influence brought concerts for Radio MEC in Rio de By Renata Pereira Janeiro . the status of the recorder An important person who created to that of a solo concert Brazilian Renata Pereira is member of a favorable environment for interpreta- several chamber music groups that have tion and study of music before the instrument in Brazil. recorded CDs—including recorder quartet Romantic period was the German Quinta Essentia, which toured Europe in musician, composer and educator his group Musikantiga, Kanji left 2009 and 2010, also becoming the first Hans-Joachim Koellreutter, who Brazil in 1969 to study with Frans Brazilian recorder quartet to perform in arrived in Rio de Janeiro in 1937 . He Brüggen in The Netherlands . China. In Brazil, Pereira teaches Suzuki changed Brazilian musical life by pro- Kanji served as recorder teacher Method recorder in schools, at festivals, moting concerts, lectures and the estab- for many students throughout Brazil, and in master classes. She is pursuing her lishment of music schools and festivals . mainly near São Paulo . After he Ph.D. on the Suite Sonates of the French Some people agree that Koellreutter assumed Brüggen’s post at the Dutch Baroque virtuoso flutist/recorder player was the first musician to bring 17th- Royal Conservatoire, he continued to Jacques Hotteterre le Romain. and 18th-century music to Brazilian teach many Brazilians there . Kanji’s concert halls; he dedicated part of his influence brought the status of the We have only one book that collects musical life to the Baroque repertoire recorder to that of a solo concert the memories of many musicians who for flute, according to Augustin . instrument in Brazil, and inspired started the early music movement in Koellreutter’s relationship with many other recorder players . Brazil: Um olhar sobre a música antiga: the city of São Paulo began in March Because almost all recorder play- 50 anos de história no Brasil by Kristina 1952, when he created the Escola Livre ers in the 1980s studied with him, Augustin (1999) presents the begin- de Música . Koellreutter emphasized Bernardo Toledo Piza was also ning of the early music movement that the study of early music was essen- extremely important . Both before in the late 1940s with the arrival of tial to the understanding of the evolu- and after going to Holland to study European musicians in Brazil, up tion of music history; this made the with Kanji, Piza contributed to the to the inception of the new Rio Escola Livre de Música an attractive introduction and spread of Baroque de Janeiro symphony orchestra . place for the study and spread of early instrumental music in São Paulo . In the postwar period, step by music in São Paulo . Musicians began to Early music activity in Rio de step, immigrants arrived, joining those specialize in early music—like Ricardo Janeiro and São Paulo spread further already in Brazil . An early music group Kanji . After three years of success with south, with the International Music Festival of Curitiba held in 1968 .This Bits & Pieces: World Travel Stories festival was crucial in spreading the interpretative practice of Medieval, Renaissance and Baroque music . Following the 1980s, the apprecia- Last summer ARS member Priscilla Winslow tion of early music in different states took this photo of recorders being sold in a lit- of Brazil began to dwindle: some tle market shop—in Burma! Brazilian musicians who sought educa- It was a case of “missed it by that much ”. tion in Europe did not return home . While traveling in Turkey, AR reviewer Tom However, later generations of Brazilian Bickley was surprised to see a notice for a con- musicians returned to the country, and cert in Istan­bul of a piece by Turkish composer music festivals began to thrive again . Fazil Say—a symphonic work that features two The new generation: bass recorder soloists and theremin . Unfortu­ Quinta Essentia Recorder Quartet nately, Bickley discovered that the concert was set for the day after his itinerary required him In the 1990s, Alfredo Zaine, to leave Istanbul . Say describes Mesopotamia as Guilherme dos Anjos, Gustavo de his “orchestral masterpiece” : http://fazilsay.com/ Francisco and I began our recorder en/872/fazil-say-mesopotamia-symphony-no-2. studies and played together for some years sporadically at music festivals .

www.AmericanRecorder.org Winter 2012 11 extend the recorder scene in Brazil, and to unite professionals and students in a country of continental dimensions .To do this, we set up an Internet recorder forum—and, to per- sonally meet the people involved in the forum, we held the 2007 ENFLAMA National Recorder Meeting . During this recorder meeting in São Paulo, 65 people attended three days of dis- cussions, lectures, concerts and rehearsals together in order to promote, share, and consider recorder practice in Brazil . Besides creating a community of teachers, research- ers, professionals, students and lovers of the recorder, the conference succeeded in provid- ing a forum with no hierarchies . At the end, it was decided that future meetings would be held in different locations In 2006, we decided Quinta Essentia should become a and at different times, so that we could provide opportunities professional quartet . Until then, recorder consorts in Brazil for more participation in areas around Brazil .The events that were only student groups from universities and conservato- followed were conducted by different organizations in differ- ries . Brazil was missing the kind of professional groups that ent states: Minas Gerais (2008), Rio Grande do Sul (2009), were popular in the 1960s . Pernam­buco (2010) and again in São Paulo (Tatuí, 2011) . The desire to bring the recorder to the Brazilian public For June 2012, Quinta Essentia again organized increasingly became a reality . Recorder groups that had not ENFLAMA, with a goal of promoting recorder ensembles recently performed returned to the chamber music scene, in Brazil . Paul Leenhouts was invited to work with groups, as many Brazilian recorder players who lived in Europe mostly due to his wide international experience with ensem- returned home .There was also financial support from cul- bles like Amsterdam Loeki Stardust Quartet and The Royal tural agencies, the beginning of new recorder courses at uni- Wind Music . versities, and the contribution of Quinta Essentia in creating We were surprised at the interest from other Latin new opportunities for the successful spread of the recorder . American countries .The sixth ENFLAMA became an Unlike our predecessors, Quinta Essentia’s musicians international event with the participation of recorder players could study in Brazil without leaving the country to study in from Peru and Uruguay .“It was very important for us to Europe .This fact, coupled with our hard work, meant that come to this meeting and to know that our concerns are not we were recognized in Europe as representing “Brazilian different than the Brazilian recorder players’ concerns,” said recorder practice ”. “According to what we saw and heard Cristina Pinto Canelo, a recorder player from Lima, Peru . here today and during the competition, we can consider Brazil the new country of the recorder,” said recorderist Kees Boeke following our concert in Vignanello, Italy, during the 2010 Prince Fran­cesco Maria Ruspoli Award—which had been won by Brazilian recorder player Inês d’Avena, then residing in Holland . Giada Ruspoli, a descendant of the Prince, created this competition after I met with her in early 2009 in São Paulo .“It was the young musician Renata Pereira, one of Quinta Essentia’s recorder players, who inspired me to create this award,” said Giada in a February 2011 interview in Planet magazine (in Portu­guese: www. terra.com.br/revistaplaneta/edicoes/461/artigo211098-2.htm) . Our group has produced a recording, La Marca (2008), gone on international tours to Europe and China, and has been invited by the Ministry of Foreign Affairs-Itamaraty ENFLAMA 6 master class with Paul Leenhouts to present Brazilian recorder music in Africa . Our goal is to (demonstrating with his recorder) 12 Winter 2012 American Recorder Every morning for four days, Leenhouts gave master classes for recorder ensembles . Academic papers and lecture-workshops filled the after- noons, with concerts at night . The most beautiful moment of ENFLAMA 6 was a fringe concert— which, coincidentally or not, included groups from three states that had hosted ENFLAMA in previous years: Flauta de Bloco (photo at left on previous page) from University of Pernambuco, Flautarium from Univer­sity of Rio The Recorder as an Instrument of Peace Grande do Sul, Doce Har­monia from Uberlândia Conservatory, plus Sonqo Saminchay from Peru .The groups By Mehrdad Teymoori, Music Teacher and Conductor, Tehran, Iran demonstrated regional music .“What (in photo, behind female ensemble members) I liked to see in this meeting was how each group is concerned with making I have always thought of the recorder as a majestic instrument . However, many its own music, bringing regional people think of it as a simple instrument that can only be found in children’s toy music …This. was the first time that boxes, producing sounds more trivial than those of a piano or clarinet, or of the I did not know the music performed . traditional Persian lutelike tar . My dream in life is to reveal the true magic of It was a wonderful experience for such a small instrument, and its capability to create peaceful yet complex me,” said Leenhouts at the end of sounds . I was first able to achieve this in November 2007, when I gathered ENFLAMA 6 . 16 of my more advanced students at Pars Music School in Tehran, Iran, Among the issues discussed dur- so that we could fulfill this desire together . I began my music education in 1991 at Pars Music School, which has ing ENFLAMA 6 were: how to pro- www.pars-music.com duce recorder sound in soloist and offered Orff music classes since 1985 ( ) . A group of friends ensemble settings; the importance and I were fortunate to be trained there by Nasser Nazar . I am proud to be able of risk in the artist’s life (no risk, no to say that all his students, including my friends, are now very well-known and glory); the relationship between music respected musicians and composers . I now teach at Pars Music School myself . and universities; the recorder’s role in Violin was my first instrument, which I played in the Pars Symphonic music education; and contemporary Orchestra . Later, after I earned a Bachelor of Science in Computer Science music (classical, regional, popular) . at Tehran Azad University, I started playing the piano . Simultaneously I learned In addition to 70 attending counterpoint, harmony and composition from the influential Iranian musician ENFLAMA, audiences of about 300 who pioneered modern music, Alireza Mashayekhi . people attended concerts, filling the Gradually I became more aware of the depth and complexities of music, hall of MariAntonia University of São as well as its role in my life . However, the recorder still was my favorite friend . Paulo Cultural Center and the audito- I used to count the minutes until my recorder rehearsals and ensembles . rium of the Art Museum of São Paulo . The first piece that I arranged for recorder ensemble was an Arioso by Details of the next ENFLAMA J S. . Bach, which I set for SATB recorders . I have also arranged some pieces are not available until a host city is cho- by Vivaldi, Strauss, Brahms, Schubert and Mozart—all of them in settings sen .What is certain is the importance that show the enchanting sound of the recorder . of events like ENFLAMA to the Then in 2007, I identified the best among my students and fellow- growth of recorder practice in Latin musicians . My colleagues, students and I began to spend hours playing the America—to teaching and studying recorder at school every day . Experiencing how well we were playing and the instrument seriously, to the quest how strong we had become as an ensemble was a dream come true for me . to create new performance spaces for After each rehearsal, instead of being tired, I had more energy! groups and soloists, and to encourage As word traveled at the school, many recorder players wanted to join our use of regional music and music new group . After months of organized rehearsing, more talented recorder players to the recorder . continue to join . Now our orchestra has more than 40 players, sopranino to

www.AmericanRecorder.org Winter 2012 13 bass .The recorder orchestra has participated in many prestigious music festivals in Iran . Among our best performances were two special ones: playing the Carmen Suite by Georges Bizet; and The Nutcracker by Tchaikovsky, at Tehran Vahdat Hall, which earned many positive reviews (photo below) . In addition to our performances of music by classical composers, the recorder orchestra has experimented with modern music such as Meta-X No. 5 by Alireza Mashayekhi, for piano and recorder orchestra .We played this piece at a festival in Tehran, “From Classical to Modern,” performing with Farimah Ghavamsadri, who is one of the greatest pianists in Iran .The performance received many favorable published reviews from music critics . More recently, in September 2012, the group worked on another piece by Mashayekhi called Short Stories, originally a four-movement piece for piano and string orchestra that I arranged for recorder orchestra (photo above) . I have conducted all the concerts by the recorder orchestra since its begin- ning .Working with this group has been an great opportunity for me—it is what motivates me more and more every day to continue on this excellent path . I believe that the recorder can be an instrument of peace .When my breath fills a recorder with music, its harmonious effect instantly fills my entire body .

14 Winter 2012 American Recorder Composers/Arrangers Special for Play-the-Recorder Month Porque Llorax for Recorder Day!

By Will Ayton This setting is for SATB record- I have provided breath marks . ers . It opens with an eight-bar intro- These are, of course, only sugges- am in constant search for Medieval duction—in my mind, reflecting the tions but they also reflect some of the and Renaissance tunes to set, mostly feeling of the tune .This introduction grammar used in creating musical forI my friends in the Rhode Island comes back later in the piece and is phrases, or gestures . I have not pro- Recorder Society . Porque Llorax (Por used to get away from the tune for a vided dynamics, but the shape of the Que Llorax) is one of the many beauti- short while before the last section . lines will often automatically encour- ful tunes found in the repertoire of The text, placed under the top line age players to give more or less . the Sephardic Jews; on first listening, (mm . 8–21), is there to show the origi- As with the breath marks, the it touched my heart . nal tune and not for singing . I would tempo marking is only a suggestion . Of course, it is always danger- recommend first playing through the I have a tendency to frequently change ous to tamper with something that is top line of these measures a couple of my mind, so I don’t feel right about already so beautiful in its monophonic times in order to get the tune firmly imposing restrictions on others . form, but I could not resist . I hope that fixed in the ear . Indeed, I would wish that the I have not done it any lasting harm . players make this piece their own . Play-the-Recorder Month Recorder players from across North Join us! America celebrate March as Play- the-Recorder Month (PtRM) . Membership is a great value: Early Music America is the Many ARS chapters plan special w Online access to Grove Music Online ($295 value) service organization for the w entire field of early music in concerts and presentations to illus- Online access to Naxos Music Library ($225 value) North America. w Early Music America magazine (quarterly) trate the versatility and beauty of w www.earlymusic.org E-notes (monthly) and Bulletin (semi-annual) enter discount code CY6KS this wonderful instrument . w Membership Directory or mention this ad for a March 16, 2013, is designated 15% discount EMA workshop, Berkeley 2010 “Recorder Day!” when individuals Call us toll free: and chapters around the world are 888-722-5288 encouraged to play Will Ayton’s set- ting of Porque Llorax. You can listen Early Music America 2366 Eastlake Ave. E. #429 to a midi file on the ARS web page . Seattle, WA 98102 Chapters and consorts may sub- [email protected] mit a PtRM Contest Entry Form describing their activities, to be eligi- ble for prizes for the “Most Creative Event ”. Contest deadline is April 15. ARS also holds a PtRM Mem­ bership Special . New members, or members who have lapsed for more than two years, may join the ARS for $35—a 25% savings off the normal price of $45 . Join online or send a Membership Special Application to the ARS office by March 31 . Plan your PtRM celebration now! For more information about Play-the-Recorder Month, see www.americanrecorder.org/events/ ptrm.htm .

www.AmericanRecorder.org Winter 2012 15 16 Winter 2012 American Recorder Copyright ©2012 Will Ayton. All rights reserved. ARS members may make photocopies of this music for their own use.

www.AmericanRecorder.org Winter 2012 17 What We Have Learned about the History of the Recorder in the Last 50 Years By David Lasocki have chosen to write about changes reviews . But I in our view of recorder history over I’ve found it Based on a lecture given at the ARS the last 50 years because Edgar Hunt’s more satis- Festival, Portland, OR, July 8, 2012 The Recorder and its Music was pub- fying to go lished exactly 50 years ago in 1962 . back to The author writes about woodwind This book was the first published piece Hunt . instruments, their history, repertory, and of writing of significant length devoted A list performance practices. The third edition to the entire history of the recorder . of the major of his book with Richard Griscom, (An American dissertation by Lloyd sources is The Recorder: A Research and Schmidt, submitted in 1959, had cov- found in Information Guide, was recently ered the territory better, but it was the Bibliog­ published by Routledge. never published, in whole or in part ). raphy And despite the overview provided (posted on He recently won the Frances Densmore by the collection of essays in The the ARS web site); for a more compre- Prize from the American Musical Cambridge Companion to the Recorder, hensive listing, see the third edition of Instrument Society for the most distin­ published in 1992, Hunt’s book wasn’t the book Griscom and I wrote . guished article-length work in English superseded until 2007, with the publi- published in 2010 for his two-part cation of János Bali’s A furulya, which is What is a Recorder? article “New Light on the Early based on the latest research .You might Hunt began his book with a chapter History of the Keyed Bugle.” be interested in making your own com- called “The Origin of the Recorder,” parison of Hunt’s book with Bali’s, which is also about definitions, names Since he retired from his position as Head except that Bali’s happens to be in and sizes . He defines the instrument of Reference Services in the Cook Music Hungarian, a language that few Ameri­ this way: “The recorder is a tube, one Library at Indiana University in January cans speak . I will make my own com- end of which is partly blocked, and 2011, he has been devoting himself to parison of Hunt’s view of recorder his- shaped to form a ‘whistle’ mouthpiece . many unfinished writings and editions, tory 50 years ago with ours today . Here the tube is almost closed by a to his own publishing company I began my acquaintance with plug called the ‘fipple,’ leaving a narrow Instant Harmony, and to the practice the history of the recorder by buying channel or ‘windway’ through which of energy medicine. See his web site, Hunt’s book in its year of publication, the player’s breath is directed, across www.instantharmony.net . when I was 15, and reading it over an opening in one side of the tube, and over from cover to cover . Over against the sharp edge of the ‘lip,’ set- the next few years, I wrote comments ting up vibrations . . .The chief differ- in the margins, such as “Speculation,” ence which separates [the recorder] “Source?” and “Nonsense ”. My research from other fipple flutes . . is the fact career had begun . . . that the recorder has a thumb hole in It might have been more appro- addition to seven finger holes ”. This priate for me today to look back 27 definition still works for us, except years to 1985, when I began to write that the terms “fipple” and “fipple an annual review of research on the flute” have been abandoned, because recorder, especially because the review scholars couldn’t agree on what part of I wrote for the May 2012 AR covering the instrument a fipple is . So now we 2010 is the last in the series . Or I could speak of “the block” and “duct flutes ”. have chosen to look back to 1993, Hunt added that the recorder has when Richard Griscom and I compiled a “tapering bore . . generally cylindrical the first edition of our recorder bibliog- near the mouthpiece, getting smaller in raphy, partly based on my annual the part with the finger holes, some-

18 Winter 2012 American Recorder times straightening out again towards handtpyp, found in Dutch sources the other end ”. And he went on to say from the 16th and 17th centuries, and that “The average recorder is made in their German equivalent, Handt flöte, three parts, known respectively as the in a German inventory of 1582 . He head, which includes the mouthpiece, spoken in England after the Norman skipped over fleute d’Italien, an alterna- fipple or block, and the lip . .” . We can Conquest .Then the word goes back tive name given by Philibert Jambe de see that he was describing the Baroque to the Old French recorder, and ulti- Fer, and he didn’t know about flauta type of recorder, at least as interpreted mately the Latin recordari, to remem- all’italiana, in an inventory from by 20th-century makers up to the early ber (re-, back, plus cord, from cor, heart Siena in 1548, or flauto italiano, in 1960s . Nowadays we need to consider or mind; thus, to bring back to mind) . Bartolomeo Bisman­tova’s treatise of Medieval, Renaissance, Classical, The Middle English Dictionary sets out 1677/1694, all of which mean “Italian Romantic, modern and ultra-modern no fewer than seven families of mean- flute ”. He also didn’t know flauto da 8 recorders, too . ings for “to record” in the 14th century, [otto] fori, “flute with eight holes,” In his chapter on design, Hunt deriving the instrument from the defi- found in a 17th-century Italian tutor, does discuss recorders of the 16th nition “repeat, reiterate, recite, rehearse or the Florentine term zufolo, found in century, mentioning only one design: (a song) ”. The other definition that inventories from 1463 to 1700, which “a gentle narrowing follows the line of Hunt mentions, “to sing like a bird,” derives from the verb zufolare, “to blow” the inner bore most of the way down is not actually recorded until the early or “to whistle ”. before gently flaring out . . .The inner 16th century (forgive the pun) . Hunt’s idea about possible English bore of these renaissance recorders My research has shown that in origins for the recorder presumably is wide in proportion to the length, other countries in the late 14th century relates to the accounts of 1388 . An ear- mainly because the taper is not as and early 15th, the Medieval terms for lier probable reference has now turned acute as is the case with the later tabor-pipe, such as the French flaüte, up in a letter from 1378 written by the instruments ”. Despite his familiarity were taken over by the new recorder: Infante (Crown Prince) Juan of with Ganassi, Hunt also stated that for example, French fleute or flute .That Catalunya–Aragón, mentioning that such instruments have a compass of seems to have been true in England his ambassador was going to Valencia: an octave and a sixth . as well, where flute and recorder over- “and send us the lutes and the flahutes As for the name “recorder,” which lapped until about 1430 . After that the as quickly as possible ”. Unfortunately, often brings up questions at parties and new term took over .Why did England it’s not clear whether the flahutes had on the Internet, Hunt noted “the gen- need a new word for a soft duct flute? been made in Valencia or obtained erally accepted derivation . . from the Perhaps because it lacked any term for elsewhere . Anthony Rowland-Jones root verb ‘to record,’ which has many duct flute—not even the French term has shown that the earliest incontro- meanings besides the basic one of ‘to flajol, the origin of flageolet . vertible depictions of the recorder are write down something in order that it Hunt noted that “The recorder has in paintings from the Catalan court can be remembered later ’. One of these had many different names in different of Aragón in Barcelona from about is ‘to sing like a bird . .’” . Hunt was mis- languages . . deriving from the instru- 1390, particularly from the work- led by Brian Trowell’s discovery of a ment’s various features: its beak, the shop of the Serra brothers (below) . payment for “i. [una] fistula nomine fipple or block, its sweetness of tone, Ricordo” (one pipe named Ricordo) in the fact that it is held straight in front the household accounts for 1388 of the of the player, possible English origins, future King Henry IV of England, and and to distinguish it from the German Trowell’s conclusion that “ricordo” was flute ”. Here he forgot to take into Italian, meaning “memento ”. Anthony account a term he well knew, the Rowland-Jones has gone back to the 16th-century French flûte à neuf trous, original accounts to discover that they “flute with nine holes,” which derived refer to, not “ricordo” but “Ricordour,” from the doubled bottom hole on thus demolishing Trowell’s theory in early recorders, allowing for playing one fell swoop . with left hand or right hand on top . Modern authorities do derive He mentioned in connection “recorder” from the verb to record, stem- with Jacob van Eyck, but didn’t con- ming first of all from the verb recorder sider here, the terms hand-fluit and in Anglo-French, the dialect of French www.AmericanRecorder.org Winter 2012 19 The Recorder in the Renaissance Hunt rapidly moved on from what he called “the doubts of the Middle Ages ”. But we have new evidence of sets of three or four recorders in the early 15th century . For example, an inventory of Juan of Catalunya–Aragón’s brother and succes- sor, King Martí, in 1410 mentions “tres flautes, dues grosses e una negra petita” (two flautes: two large and one small black one) . Perhaps these instruments included the ones bought for the Infante in 1378 . In any case, these instruments appar- ently constitute a set of three in two different sizes—good for playing the three-part consort music of the day . Nevertheless, Nicholas Lander, who is a botanist as well The Court of Burgundy bought sets of four recorders as a recorder player, has rightly pointed out that we need to in 1426 and 1443, about the time the Court composer change our mentality about the origins of such an instru- Gilles Binchois started writing chansons in four parts (his ment: “If we are to speculate, could it not be that the recorder Filles à marier dates from the 1430s) .The royal minstrel family is polyphyletic [a group of organisms that are classi- Verdelet, a celebrated player of the flajolet, perhaps actually fied into the same group but came from different ancestors] the flute (recorder), died in 1436 . rather than monophyletic [organisms that share recent com- Flustes were played at the Court in circumstances that mon ancestors], that it emerged at a variety of different strongly suggest sets of recorders . At a great banquet in times, in a number of places, in a variety of forms each of 1454, “four minstrels with fleutres played most melodiously ”. which underwent subsequent development and modifica- Fourteen years later at a royal wedding, there were “four tion? This conjecture would account for the disparate mor- wolves having flustes in their paws, and the said wolves began phology [form and structure] of the surviving fragments to play a chanson ”. The wolves were directly followed by four (that is, both open vs end-stopped, cylindrically vs obconi- singers who “sang a chanson in four parts ”. Therefore, the cally bored), for the various distinctive external forms wolves probably played a four-part chanson on recorders . depicted in illustrations of the medieval and early Renais­ We can now identify a number of professional recorder sance period (cylindrical, near-cylindrical, flared-bell), and players of the 15th century, such as the blind German organ- for the variety of presumed internal bores associated with ist and composer Conrad Paumann, and several city min- these forms (cylindrical, wide-bore, choke bore, strels of Bruges . etc ). ”. Hunt knew the reference at the English Court to Hunt was aware of the soprano-sized Henry VII’s payment in 1492 to “the child that pleyeth “Dordrecht recorder,” probably from the late on the records ”. He didn’t know the payment in 1501 to 14th century (photo at top) . Some other early Guilliam van der Burgh, a Flemish member of the trom- specimens have since been discovered: bone and shawm consort at Court, “for new recorders ”. • a sopranino-sized instrument in Tartu, He noted a list of seven recorder players at the funeral Estonia, from the second half of the 14th of Queen Elizabeth I in 1603, including five members of the century with a range of a ninth, perhaps Venetian Bassano family . I have devoted a whole book to the imported from north Germany Bassano family, showing how five brothers immigrated to • a similar size in Göttingen of dubious England in the 1530s . Beginning in 1539, they constituted a dating that has a semitone for its first five-part recorder consort, which expanded to six members step and a range of three octaves in 1550 . Remarkably, that consort lasted until the amalga- • a soprano-sized instrument in Nysa, mation of the various wind consorts around 1630—about Poland, reportedly from the 14th century 90 years . Most of the consort’s members came from three • another soprano-sized instrument in generations of the Bassano family .The Bassanos in England Elbląg in Poland (left) from the mid-15th and Venice were also well-known woodwind makers . century, again with a semitone for its first Hunt cited five 16th-century inventories that included step vast numbers of recorders, beginning with Henry VIII’s • a fragment from a monastery in Esslingen, inventory of 1547, which includes 76 . I started to make a near Stuttgart; a more doubtful fragment listing of the references to members of the flute family in in Würzburg . such inventories as well as records of purchases, and I ended up compiling an article of 100 pages and a book of 350 pages 20 Winter 2012 American Recorder At a royal wedding, there were “four in G, even though it was by then in three joints, and his articulation syllables are similar to the Renaissance ones, wolves having flustes in their paws, and adding two new smooth ones that presumably reflect violin technique . the said wolves began to play a chanson.” To go back to the early 16th century, Virdung discussed that also included newspaper advertisements in the 18th three sizes of recorder: discant in G, tenor in C, and bass in century .These listings present raw evidence about the his- F . Hunt wrote that “by the beginning of the seventeenth tory of the recorder quite different from treatises, tutors, century the families of instruments outlined by Virdung had and literary sources . I have drawn on that evidence to grown,” although he later amends this statement: “Although discuss sizes, consorts, makers and pitches . Praetorius is writing in 161[8], he is not telling his readers Hunt was familiar with the important recorder about new instruments but ones that were well established in treatises of the 16th and early 17th centuries by Virdung his day, made and played probably fifty or sixty years earlier ”. (1511), Agricola (1528 and 1545), Ganassi (1535), Hunt also cites a Verona inventory of 1569, which mentions Jambe de Fer (1556), Praetorius (1618–19), and Mersenne crooks for the three largest of 22 recorders, and he notes that (1636) . Some other treatises have shown up since in a double-bass instrument has survived . manuscript . A Swiss manuscript of around 1510, headed Both the surviving recorders and the inventories of the “Discant,” gives fingerings for a discant recorder . period discovered since Hunt was writing confirm that the Hunt wrote confidently about Ganassi that “There extra sizes were not a product of the early 17th century . An never was a second Fontegara ”. But we have three new Italian inventory made at the Medici court in Florence in 1520 sources .The important treatise by Girolamo Cardano mentions “three new large recorders for the bass part” (tri (c 1546). refers to and builds on Ganassi; it includes such flauti grandi, novi, da contrabasso) . Identical terminology is modern-sounding devices as tongue vibrato and controlling found in a set of recorders that the celebrated wind player the pitch or intonation by closing the bell hole . Aurelio Wolff Gans is said to have bought in Augsburg for the Virgiliano’s collection of ricercars, Il dolcimelo, includes a Brussels court in 1535: “one for the bass part the height fingering chart for the discant recorder .The treatise by of a man ”. A surviving extended great bass recorder by Hans Bartolomeo Bismantova (written in 1677, revised in 1694) Rauch, evidently dating from the same time, is the height of contains a section on the recorder . He still knew the discant the tallest of men, 2 433. m (about 8 feet) .The same size of recorder is mentioned as the bottom member of a consort in an inventory from the Madrid court in 1559: “four recorders, one very large about three baras in length, and the others each decreasingly smaller ”. This recorder was also about 8 feet long .The consort would presumably have consisted of extended great bass, (extended) bass, basset and tenor sizes . Mersenne depicted large recorders “sent from England to one of our kings ”. I have shown that they were almost certainly made by the Bassanos . Cardano mentions a higher size, in D, for the first time in a treatise . Such a size had already been listed in an Antwerp inventory of 1532 under the name bovensanck . Both soprano and sopranino sizes appear in inventories from Graz, 1577 (khlainere discantl and khlaine flöttlen), and Berlin, 1582 (Dißcantt Pfeifflein and klein Dißcantt Pfeifflein) .The distinction between C and D sopranos, however, is not apparently made in an inventory until Hechingen, 1609 (alt, discant, hohe discant) and Kassel, 1613 (Alt, Soprani, höhere Soprani) . Hunt commented that “The makers of the sixteenth century, with the exception of Rauch von Schrattenbach, are known to us only by their marks and initials ”. Adrian Brown and I have written a long summary of what is now known The sizes of recorders shown by Praetorius about these makers: as well as the Rauch family, there are the

www.AmericanRecorder.org Winter 2012 21 Schnitzer family, the Hess brothers, the the instrument, weaker lower notes tions shed on the instrument’s physical Bassano family, Hieronymus, and the than the conical and cylindrical forms, symbolism, and social history . Rafi family . I have also written about counterparts, but the ability to play The new sources for the history of some major players of that century: several more notes in the high reg- the recorder confirm that, at least from Benvenuto Cellini and his father ister using fingerings close to our the 16th century onwards, three classes Giovanni, Hans Nagel, Tielman modern “Baroque” fingering . of people have played the instrument: Susato, Sylvestro Ganassi, Simone Jambe de Fer already gives several professionals, amateurs and children . Nodi, and the Gans family . variants of these fingerings in Besides discussing Praetorius and As I mentioned before, Hunt 1556, so they antedate the Baroque Mersenne, Hunt devoted only three knew only one kind of Renaissance recorder by a good hundred years . pages to the recorder between 1600 recorder: wide bore with gentle flare Incidentally, we now have a won­ and 1660: music by anonymous (in and restricted range . Adrian Brown has der­ful catalog of the 43 surviving Ren­ Breslau), Antonio Bertali, Johann since examined about 120 of the 200 aissance recorders in the Kunst­his­ Heinrich Schmelzer, Heinrich Biber surviving instruments from the 16th torische Museum in Vienna, Austria . and Jacob van Eyck . In another bril- century, dividing them into three types liant article, Peter Van Heyghen based on their inner bore: The Golden Age showed that the recorder was rare in • More or less conical: approxi- Hunt said little about Renaissance rep- Italy in the first half of the 17th century mately from the mouthpiece to ertoire . In a long and brilliant article, and there wasn’t as much freedom of around the thumb hole, contract- Peter Van Heyghen has demonstrated instrumentation as we have thought . In ing in an irregular cone to around how recorders played mostly vocal rep- the lowest tone hole, then expand- ertoire, not in “arrangements” but tak- ing gently to the bell in an obconic ing the music straight from the vocal or counter-conical fashion (“flared parts .“The prime concern in tuning bell”) .This bore type is found in Renais­sance recorders [of all types] the majority of surviving Renais­ seems to have been the intervallic rela- sance recorders, of all sizes . tionships of a fifth between all adjacent • Cylindrical, or near-cylindrical, but sizes within a consort or set . Since a often with a more pronounced basic four-part recorder consort was expansion between the seventh always comprised of three adjacent tone hole and the end of the bell . sizes only . . all Renaissance recorders, Recorders with this type of bore regardless of their nominal and sound- have a more open sound, richer ing pitches, could be considered virtual in harmonics than those with a sizes in F, c, and g ”. Players could shift conical bore . Moreover, they can “registers” by changing clefs while still often play more notes in the imagining their instruments to be “in” higher register, although it is F, C or G (which correspond to the debatable whether this was the “soft,” “natural” and “hard” hexachords), original goal of the makers .The regardless of their size . main limitation of recorders with Hunt apparently knew a handful the cylindrical type of bore is that of depictions of the recorder in works the physical constraints it imposes of art . In the last 50 years we have seen on the positioning of the tone enormous progress in recorder iconog- holes make larger sizes impossible . raphy . On his Recorder Home Page, • The so-called “choke” bore, or Nicholas Lander has an ongoing cata- what Brown calls the “step” bore: log of depictions that contains more cylindrical from the mouthpiece than 4,300 entries . to a point around the seventh Anthony Rowland-Jones, in par- tone hole, then a short, but steep ticular, has written no fewer than 16 conical section, creating an abrupt articles on iconography, from the Mid­ “stepped” contraction in the bore . dle Ages through the 17th century, dis- It gives a rather sedate character to cussing eloquently the light the depic- 22 Winter 2012 American Recorder contrast, I have shown that a recorder consort featured I have explored the English theater music of the first prominently in London theater music of this period, and was half of the 17th century, finding that recorders were used also used by city musicians (the waits) and musicians of in three contexts: noblemen . • apparently representing “the music of the spheres,” Hunt assumed that the “preparatory” recorder instruc- they were associated with the supernatural, death, tions found in some of the surviving copies of Van Eyck’s and appearances of or portents from the gods Der Fluyten Lust-hof stemmed from him .Thanks to the • they expressed love, whether supernatural or mortal researches of Thiemo Wind, we know that they originated • they announced entrances of royalty or nobility . with the publisher, Paulus Mattysz .Wind, with some help from Ruth Van Baak Griffioen, has researched Van Eyck and Who made the first Baroque recorder? his milieu in enormous detail, the fruits of which have been In describing the achievements of the Hotteterre family, who included in his recent book, Jacob van Eyck and the Others originated in the village of La Couture-Boussey west of (the “others” being some contemporary Dutchmen who also Paris, Hunt clearly wanted to tell a good story, but had to composed solo pieces for the recorder) . hedge: “By far the most important contributions of the Wind stresses that Van Eyck wrote sets of variations, Hotteterre family to music are the improvements in the not frozen improvisations, and that some of his variation making of wood-wind instruments which have been technique stemmed from his main employment as a player ascribed to them . . .The Hotteterres are said to have given of the carillon (sets of tuned bells hung from church towers) . the hautboy, flute and recorder their characteristic joints . . . The psalm tunes, which modern players tend to find boring, It is probable that in this village of La Couture-Boussey, the were put in explicitly for publication because of their popu- baroque recorder, with its bulging joints and tapering bore larity among the Calvinist audience of the day . (similar to that of the one-keyed flute), was evolved in time From J . S . Manifold’s book The Music in English Drama: for Bach and Telemann to use to the full . .” . From Shake­speare to Purcell (1956) Hunt was familiar with We have already noted a similar bore and fingerings to five different associations of recorders in music for the the- the Baroque type of recorder in the mid-16th century .The ater: funerals, the supernatural, love scenes, pastorals, and creation of the Baroque recorder has nevertheless often been imitation of birds . About the pastoral he put forward his attributed to the Hotteterre family, and particularly to Jean theory that “the shepherd’s pipe, the portable instrument Hotteterre I (fl 1628–1692?),. although there seem to be with which he passes the time while tending his sheep, only two main pieces of written evidence . although in fact more probably a bagpipe or simple reed First, Borjon de Scellery (1672) wrote that Jean was instrument, can be figuratively a flute of some kind, and so a “unique as maker of all kinds of instruments made from recorder ”. I have shown in my recent book on early writings wood, ivory, and ebony, such as musettes, recorders, flageolets, about members of the flute family that shepherds played oboes, cromornes, and even for making complete consorts of duct flutes at least as far back as the 13th century . And there’s all these same instruments . His sons are hardly inferior to a beautiful quote about the recorder in a French play of 1453: him in the practice of this art ”. This only establishes that Bergier qui a pennetiere / bien clouant, ferme et entiere, / the Hotteterres were important woodwind makers: the c’est ung petit roy. / Bergier qui ha pennetiere / a bons clouans sons no less than the father . par derriere, / fermant par bonne maniere, / que lui faut il, quoy? Second, the celebrated flutist Michel de La Barre / Il a son chappeau d’osiere, / son poinsson, son aleniere, / son croq, (c 1675–1745)—writing. several decades after the fact, sa houllecte chiere, / sa boiste au terquoy / beau gippon sur soy, perhaps as late as 1740—claimed that Jean-Baptiste Lully’s / et, pour l’esbonoy, / sa grosse flute pleniere, / souliers de courroy “promotion [at Court] meant the downfall of all the old / a beaulx tasseaulx par derriere. / Face feste et bonne chiere: instruments except the hautboy, thanks to the Philidors and / c’est ung petit roy! Hotte­terres, who spoiled so much wood and played so much (The shepherd who has a bread basket that closes music that they finally succeeded in rendering it useable in tightly and is firm and intact, he is a little king .The shepherd ensembles . From that time on, musettes were left to shep- who has a bread basket with good clasps in back, closing the herds, and violins, recorders, theorboes, and viols took their right way, what more does he need? He has his wicker gar- place, for the transverse flute did not arrive until later ”. This land, his awl, his awl case, his hook, his dear crook, his box of belated account maintains that both the Hotte­terres and the pitch, a fine long-sleeved tunic, and, for amusement, his Philidors were responsible for transforming the shawm into grosse fleute pleniere, wears leather shoes with fine tassels in the oboe (the instruments have the same name in French); back . Happy face and good cheer: he is a little king ). recorders are mentioned only among the instruments that replaced the musettes .

www.AmericanRecorder.org Winter 2012 23 Anthony Baines did point out in pentier, Michel-Richard de Lalande, his influential book Woodwind Instru­ and Michel Pignolet de Montéclair, ments and their History (1957; third edi- included recorder parts in their vocal tion, 1967) that Jean Hotteterre was music . primarily a maker of musettes (bag- Hunt devoted two pages to the pipes), the irregular profile of which is enthusiasm the diarist Samuel Pepys reminiscent of the Baroque recorder . had for the recorder in 1668 . Certainly The new instrument certainly devel- Pepys wrote a celebrated striking oped the reputation of being French: account of the effect on him of what the name flûte douce quickly spread into seems to have been a recorder consort England, Germany and The Nether­ providing incidental music for a play: lands . On the other hand, Bismantova “But that which did please me beyond in 1677/94 depicts a similar recorder in any thing in the whole world was the G, calling it flauto italiano . Thanks to the work of wind-musique when the angel comes Hunt wrote that “The most illus- Laurence Pottier and down, which is so sweet that it ravished trious member of this family was Anthony Rowland-Jones, me, and indeed, in a word, did wrap up Jacques Hotteterre le Romain who was we now know that Lully my soul so that it make me really sick, probably born about 1680 and lived to wrote parts for the recorder just as I have formerly been when in about 1760 .Where ‘le Romain’ origi- on 60 occasions. love with my wife; that neither then, nated is not known—it was probably nor all the evening going home, and acquired as a result of a visit to Italy ”. and divertissements, five comédies–bal­ at home, I was able to think of any We now know Jacques’s dates (1673– lets (mainly with Molière), and all but thing, but remained all night trans- 1763) and that he did work in Italy one . . of his fourteen completed tra­ ported, so as I could not believe that from 1698 to 1700, at the court of gédies en musique . . . In the process Lully ever any musique hath that real com- Prince Ruspoli . By the way, two other employed most of the recorder’s mand over the soul of a man as did this Frenchmen, not mentioned by Hunt, uniquely wide range of associations upon me ”. Hunt speculated that Pepys wrote methods for the recorder before and symbolisms”: earthly (pastoral, sen- might have heard “the new flûtes douces, Hotteterre: Etienne Loulié (1680s, sual, love, sleep, water, birds) and heav- which looked and sounded different revised 1701/2) and Jean-Pierre enly (magic, gods, sacrifices, death, from the early types—instruments Freillon-Poncein (1700) . Mercury, Muses, conflict)—generally made in the three joints and with the Jean-Baptiste Lully was men- more than one symbolism for each characteristic bulges and turnings tioned by Hunt only in conjunction occasion . It may seem obvious, but it’s which we now take for granted . .” . with the royal wind band .Thanks to worth stressing that Lully was respon- I have put forward a different the work of Laurence Pottier and sible for integrating the new woodwind theory: the theater had been banned Anthony Rowland-Jones (right), we instruments into the strings, thus creat- in England during the Civil War and now know that Lully wrote parts for ing the standard Baroque orchestra . Commonwealth (1642–60) .When it the recorder on 60 occasions . Rowland- Other important French compos- returned, the links to the old music tra- Jones has noted: “They are spread ers of the late Baroque not mentioned dition, including recorder consorts, had across seventeen ballets, mascarades, by Hunt, such as Marc-Antoine Char­ been strained .Therefore, Pepys was probably hearing such a consort for the first time—but it would still have been one of Renaissance-type recorders . There is strong evidence that the Baroque recorder arrived from France in 1673 with James Paisible and his colleagues .The instrument immedi- ately changed its English name from recorder to flute douce or plain flute, thus causing confusion in the minds of modern writers who know only the later meaning of the word “flute ”.

24 Winter 2012 American Recorder Baroque Music and Makers Hunt mentioned the concertos for Hunt wrote: “Much further Hunt mentioned Drumbleby, the small recorders of William Babell, John research is needed to decide which London maker from whom Pepys Baston and Robert Woodcock . Again, works, from the quantity of Vivaldi’s bought a recorder . I have shown that we have more biographical informa- instrumental music being published by Samuel Drumbleby formed part of a tion on these composers, mostly from Ricordi, are rightly for the transverse large network of woodwind makers my own research . Hunt discusses The flute, and which really belong to the who belonged to the Turners Company Division Flute and briefly mentions recorder . . . It is known that the six con- of London .That network included that some of the divisions had appeared certos of his Op . 10 were originally for such well-known makers as Thomas previously in a tutor . I have collected all recorder, but published by Vivaldi as Stanesby Sr . and Jr ,. but not foreign the instances of divisions in recorder for the traversa when the instrument makers working in London such as music, showing the extent of the prac- became so much more popular ”. For Peter Bressan and the Schucharts . tice in England and on the Continent one of my earliest research projects, I Although thorough in his treat- in the late Baroque . took up Hunt’s challenge and wrote an ment of Henry Purcell’s recorder music, Hunt devoted more space than I article about Vivaldi’s recorder music . Hunt benefitted from a thorough arti- would have done to the recorder music Over the next few years, I made the cle on the subject by Walter Berg­mann . of Johann Christoph Pepusch, which is first editions of the concertos and He also briefly covered Daniel Purcell, generally dull enough that Hans Ulrich chamber music that had not been Henry’s lesser-known younger brother, Staeps recommended recomposing previously available outside the Paisible, and John Banister I (who was it . As for George Frideric Handel, complete works of the composer . actually a flageolet player), before head- Hunt mentioned the cantata Nel dolce Now we have Francesco Maria ing on to a few English tutors . dell’oblio, the masque Acis and Galatea, Sardelli’s book-length study of Vivaldi’s In his next chapter he began the recorder sonatas, two trio sonatas, flute and recorder music, which also with the alleged introduction of the a couple of short pieces in two operas, shows for the first time the extent of Baroque flute to England by John and Alexander’s Feast . Evidently, Hunt the recorder’s involvement in the com- Loeillet around 1705 . In fact it was didn’t go through the complete works poser’s vocal music . already mentioned in the James Talbot of Handel, or he would have realized Hunt did do justice to the recorder manuscript of around 1695 . Much of the full extent of Handel’s contribution music of Johann Sebastian Bach, cover- what Hunt said about the Loeillet fam- to the history of the recorder: recorder ing Brandenburg Concertos No . 2 and ily has now been superseded . parts in no fewer than 27 operas, a 4, the F major version of the latter, the Hunt complained that little was masque, nine oratorios, six cantatas, St . Matthew Passion, and 23 cantatas, known about the life of Robert Valen­ three sacred works, and three orchestral concluding that “these cantatas of Bach tine, but that is true no longer . Baptized works, besides the sonatas and trio are the richest store for the recorder in Leicester in 1674, he went to Rome sonatas .The autograph manuscripts of player to explore, and every perfor- at an early age and worked there until the recorder sonatas have been discov- mance enhances one’s love for their his death in 1747 . ered, and editions, including my own, music ”. He was familiar with the trans- The little that Hunt said about made from them rather than the position problems caused by differences Johann Christian Schickhardt “of untrustworthy prints of Walsh .The in pitch between the organ and wind Ham­burg” has also been augmented sonatas seem to have been written for parts of the vocal works . by my researches . Schickhardt was born Handel to play with his royal pupils, And he brought up the vexing in Germany and did spend a little time Princess Anne and her sisters Amelia problem of what Bach meant by fiauti in Hamburg, but most of his career was and Caroline Elizabeth . d’Echo in Brandenburg No . 4, without spent in The Netherlands and Scandi­ Hunt knew some recorder music coming to a conclusion . More ink has na­via . A woodwind player himself, by Giuseppe Sammartini, Alessandro been spilled over this question than any Schickhardt produced instruction man- Scarlatti and Antonio Vivaldi . No other in recorder history, which appar- uals for both the recorder and oboe, but fewer than 29 recorder sonatas by ently cannot be entirely resolved .The he was known primarily through his Sammartini have turned up in two echoes in the recorder parts in the sec- popular chamber music . Hunt didn’t manuscripts; a complete edition is ond movement may have been real or know, but you may know, Schickhardt’s slowly coming out . Eleven chamber figurative or both . A double recorder— 24 sonatas in all the keys for recorder, cantatas by Scarlatti include recorder two joined recorders of different tonal flute or violin and basso continuo, parts, and he also wrote seven so-called properties—was known and may or published in London around 1732 . sonatas for recorder and strings . may not have been intended by Bach .

www.AmericanRecorder.org Winter 2012 25 The recorders could have been in G or parts . Collectively these operas include by Lully, Charpentier, Montéclair, F or both . 59 arias and eight other movements Telemann and Galliard; and we have The value of Telemann’s recorder with recorder parts . records of consorts in three parts being was well understood by Hunt, who Keiser uses recorders with the purchased in 1685 (Richard Haka for knew virtually all the instrument music: same symbolisms and associations as the Swed­ish Navy), 1699 (for the the sonatas, duets, trio sonatas, quartets, other composers: the representation Court of Anhalt-Zerbst), 1710 and A-minor suite, and concertos, as well as of nature (wind, flowers, forest), birds, c 1720. (Jacob Denner for a duke and the cantatas of Der harmonische Gottes­ sleep, and love fulfilled . But he also puts a monastery) . My book A Listing of dienst .The Neue Sonatinen have since recorders in what Lucia Carpena calls Invento­ries, Sales, and Advertisements been rediscovered, at first without their “unusual contexts”: love that is unful- Relating to Flutes, Recorders, and Flageo­ bass part . Ulrike Teske-Spellerberg has filled, suffering or unhappy; farewell, lets, 1631–1800 includes a number of discussed how Telemann employed the lament or despair; irony; and magic . instances of recorder consorts in inven- recorder in no fewer than 93 cantatas The mass of published sonatas and tories and private sales as late as 1774 . and vocal serenades written between concertos for single recorders can easily The most interesting is a consort of 16 1716 and 1762, but concentrated lead modern recorder players to con- recorders (four sopraninos, four sopra- primarily in the years 1720–31 . clude that the recorder consort had nos, four altos, two tenors, and two Hunt couldn’t mention one of the died out well before the late Baroque . bassets) made by Haka, in a Florentine most important Baroque composers for Howard Mayer Brown, in The Cam­ inventory of 1700 . the recorder, whose work has remained bridge Companion to the Recorder, even Hunt was acquainted with a virtually unknown until the last few went so far as to state: “The Renais­ number of Baroque recorder makers, years: Reinhard Keiser, the main com- sance can be said to close when record- although he knew little of their biogra- poser at the Hamburg Opera from ers ceased to be played in consorts ”. Yet phy: the Stanesbys, Bressan, Schuchart, 1696 to 1728 . He wrote 66 operas, of we have already noted recorder con- Bradbury, Haka, de Jager, van Heerde, which only 22 have survived, but only sorts in England through the 1660s; Rottenburgh, Boekhout, Beukers, two of those do not contain recorder occasional pieces survive in vocal music Wijne, Scherer, Rippert, Heitz, Kyn­

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26 Winter 2012 American Recorder seker and Oberlender . Ekkehart Nickel The most successful instrument— set the standard for biographical stud- Researchers have turned up mostly because it was louder—was the ies of makers with his dissertation on more and more evidence French flageolet, which retained its ear- makers in Nuremberg, soon turned into that the recorder continued lier arrangement of two thumb holes a book . Jan Bouterse has written an to be played ... into the and four finger holes . All these instru- inspiring dissertation, again turned into 19th century and beyond. ments eventually developed keywork a book, about the Dutch makers, and an extended range, in the manner amassing biographical detail and study- and to a modest extent by professionals, of contemporary flutes and oboes— ing the surviving instruments in depth . from its supposed demise around 1730 not to mention novel ways of dealing The first edition of Lyndesay or 1740 into the 19th century and with clogging .The csakan, then the Langwill’s An Index of Musical Wind beyond . For example, I have shown French flageolet, enjoyed widespread Instrument Makers (1960) was known how recorders were listed in advertise- popularity, attracting a number of to Hunt and cited by him . Langwill ment in the U S. . from 1716 to 1815 . charismatic professionals . went through six editions up to 1972 . The evidence does suggest that the Hunt moved on from the csakan William Water­house made a thorough larger sizes generally dropped out dur- to “the revival of the recorder,” seeing it revision in 1993, adding 2,400 makers ing the course of the 18th century, leav- largely from an English viewpoint and to Lang­will’s 4,000 .This is a never- ing sizes from alto up to sopranino . especially his own involvement with it . ending story . After my research on Hunt knew a method for the I could say a great deal about what we newspaper advertisements and invento- csakan from around 1830, noting that now know about recorder revival, but ries, I came up with 31 makers who the instrument “had the seven finger- that would take a lot more space . were unknown to Water­house . Phillip holes and thumb-hole of the recorder Suffice it to say here that Arnold Young put together a catalog contain- with the addition of a D sharp key ”. Dolmetsch was by no means the only ing the essential information about the He never came right out and said that modern maker who took up the early surviving instruments by 200 wood- it was a recorder, although it meets his instrument, and the Dolmetsch family wind makers through the early 19th definition . About other instruments of were far from alone in presenting it to century . the Classical and Romantic periods, he the public in concert, as in the first Hunt cited several Continental cited some novelty instruments, then Haslemere festival of 1925 . For exam- treatises with fingering charts, noting skipped on to the flageolet and double ple, Martin Kirnbauer has written up their propensity to give fingerings flageolet, which he called a “musical the astonishing history of the Bogen­ for notes in the high register . A few toy,” even though it was depicted on hausen Künstlerkapelle in Germany, more charts have been discovered: the spine of the dust cover of his book . which performed early music on by Arnoldus Olofsen (c 1734–67),. A great deal of research on the recorders and other instruments from Johann Daniel Berlin (1744), Pablo csakan has been done by Marianne 1899 to 1939 . Minguet é Irol (1754), Pater Ferdi- Betz and by Nikolaj Tarasov, who has There will be a stimulating chapter nand von Everard (1770), and Joos also developed a new perspective on about the history of the recorder in the Verschuere Reynvaan (1795) . duct flutes in the 19th century .What 20th century by Robert Ehrlich in a Researchers have turned up more we would recognize as a recorder— book we are writing with Nikolaj and more evidence that the recorder a duct flute with an octaving thumb Tarasov for Yale University Press .Yes, continued to be played by amateurs, hole and seven finger holes—was per- I know this book has been 10 years in formed right through the 19th century gestation, and people are getting tired and overlapped with the 20th-century of waiting for it—but it would have so-called “revival ”. The csakan was been premature to go to press 10 years simply a recorder, in the unusual key ago, when so much essential research of Ab, originally with walking-stick has been done since . Certainly, the attachment, and associated primarily view of recorder history presented in with the Austro-Hungarian Empire . the Yale book will be vastly different The English flageolet began in from Edgar Hunt’s 50 years ago . the late 18th century with six finger I am delighted to have been part holes, then developed a seventh finger of recorder research after Hunt and hole and a thumb hole . Anyone say to have shared a quick overview of “recorder”? that research with you .

www.AmericanRecorder.org Winter 2012 27 ______On the Cutting Edge ______A last chance to be part of Cage’s birthday, and clavichord advocacy

By Tim Broege, [email protected] mances by recorder, especially tenor or It seems to my ears that bass, with clavichord, but haven’t found n September 5, the World Lis­ the lower recorders ... any . It seems to my ears that the lower ten­ing Project hosted a global would work nicely with recorders are very much in the same “performance”O of John Cage’s most clavichord accompaniment. dynamic range as Baroque flute, and famous work, 4’ 33” . Called the “silence would work nicely with clavichord piece,” the work is in fact all about lis- adapted for recorder . I believe the spirit accompaniment . tening (for 4 minutes 33 seconds) . of Cage is well-served by alternate ver- My own five-octave Scheidmeyer People around the world were invited sions of some of his pieces . clavichord—a copy from the workshop to record their own “performances ”. The Boston (MA) Clavichord of Carl Fudge, renowned maker for My own took place in the beauti- Society is one of my favorite organiza- many years of clavichords and harpsi- ful sanctuary of the Elberon Memorial tions, and I am proud to be a member . chords in the Boston area—has a soft, Church at the Jersey Shore, NJ . Alone, The society promotes awareness of the but richly expressive, sound . It balances I picked up my Von Huene alto pre- clavichord—my favorite keyboard nicely with bass recorder . I have impro- cisely at 10:15 a m. . EDT . A windy, instrument—through concerts and vised with a friend playing my clavi- rainy day, there was considerable ambi- other activities . I note that the clavi- chord at two informal house concerts ent noise from outside as occasional chord is being used more frequently and was pleased with the results . I urge vehicles passed . At 10:19:33—I used a as keyboard accompaniment, particu- composers and performers to investi- stop watch—I put down my recorder . larly for Baroque flute . gate the possible uses of the clavichord . Cage’s 100th birthday is being cel- Both instruments are quite soft Performances of music composed ebrated around the world in 2012, and in comparison with modern instru- by members of the Bach family by I have read of many concerts, symposia ments and work well together .The clavichordist David Shulenberg and and other events here in the U S. . hon- listener may need a few minutes for Baroque flutist Mary Oleskiewicz can oring arguably America’s greatest com- the ears to adjust, but the rewards be heard at www.bostonclavichord.org . poser .The New York Chamber Festival of “deep soft listening” are many . Dutch recorderist Pieter van honored Cage with two concerts on I have asked around and searched Houwelingen plays the C P. E. . Bach September 5 at Symphony Space . At the Internet seeking notices of perfor- Sonata in G Major on Baroque flute 3 p m. ,. David Amram, Ned Rorem, with clavichord on www.YouTube.com . Joan Tower and Jose Serebrier per- Contemporary composers may formed Cage’s Lecture on the Weather . be interested in the possibilities of an Pianist Adam Tendler played Cage’s “electric clavichord ”. On YouTube second most famous composition, the search for “Electric Clavichord 1995” Sonatas and Interludes for prepared or “Electric Clavichord 1994 ”. The piano . An evening concert featured clavichord amplifies easily with a con- percussionists from the Metro­politan tact microphone, or a good quality con- Opera Orchestra and other guest stars . denser mic . For a real treat, try David In my previous column, I men- Manley’s arrangement of the Beatles’ tioned music of Cage playable by Strawberry Fields Forever for recorders, recorders . In addition to Three and viol and clavichord . Much fun! Five, recorder players might consider I will be happy to learn of any new the two-voice vocalise Litany for the music for recorder and clavichord— Whale, easily adaptable for two record- wonderful instruments that go well ers . Ryoanji for flute and percussion, together . I am always happy to advo- and Two for flute and piano can also be cate on behalf of both . 28 Winter 2012 American Recorder Music Reviews ______Christmas writings, ______and a journey to Germany

CHRISTMAS LETTERS, VOL. 1, lies, and “chiefs” bring him gifts of “fox four instruments, most groups will by Will Ayton . Cheap Trills TR70 and beaver pelt ”. Some may be uncom- want to hear the texts—in a simple (Magnamusic), 2010 . SATB, voice opt . fortable recalling the history of Euro­ soprano voice, perhaps a child’s . Sc 11 pp, 6 pts 3 pp ea (2 alto clef pts pean dealings with Native Amer­i­cans, The edition, by Cheap Trills, for viols incl ). . $7 50. . no matter how well-intentioned .The is well-laid-out, clear and seemingly Groups looking for new and context of this carol, beloved in Canada error-free . It comes with an amusing pleasing pieces for Christmas—and and used in numerous fund raisers for cover collage by publisher Charles who isn’t?—will take heart from these Canadian Food Banks, should allow Nagel that includes a monk at a writ- mellifluous settings of three not-so- the sweetness of the text to stand on ing desk being overseen by a moose common Christmas carols for four its own in this luminous setting . and a wolf—homage to St . Jerome recorders (or viols) with optional voice . One player noted an almost in the New World! The cover also Accessible to intermediates willing to Medieval sound in the progressions announces that this collection is work toward a beautiful sonority and of quasi-fauxbourdon harmonies and Volume 1: so there is more to come, ensemble, these are welcome additions parallel fourths; others thought it was to which we can look forward . to the holiday repertoire for school, “just the right amount of modern ”. Suzanne Ferguson is active as an church and home enjoyment . The second piece is the most early musician in Ft. Myers, FL. She Where most of us write Christ­ familiar of the three, “I Wonder as I served on the ARS Board in the 1980s mas letters detailing family exploits, Wander ”. Its innate melancholy is well- and is past president of the Viola da Will Ayton apparently sends his suited to Ayton’s characteristic style . Gamba Society of America. friends compositions as presents: lucky The third, “Immortal Babe,” has a text friends! The “letters” are from 2005-07, by the 17th-century English bishop GERMAN SUITE, arr. Eileen each a setting of a traditional melody— and satirist Joseph Hall, but the tune Silcocks . Peacock Press P181 played unadorned several times by the chosen by Ayton is not the four-square (Magnamusic), 2004 . SATB top voice, with text in the soprano part, German hymn . He calls it a “Folk (TBgBcB) . Sc 8 pp, pts 2 pp ea . $15 . while the three lower parts explore Carol Tune ”. It moves in a gently turn- Eileen Silcocks is a composer, different harmonic figurations in a ing 6/4 melody of stepwise quarter and recorder player and ’cellist in Scotland, motion that reflects that of the tune . eighth-notes, wending up from g to e' where she conducts the Scottish Introductions and interludes have a and back down, to end with a flourish . Recorder Orchestra and performs with three-part texture that responds to, These works are easier than Baroque groups . She studied recorder but doesn’t repeat, the melodies . Ayton’s typical contrapuntal fantasies . and early music with Ku Ebbinge, In “’Twas in the Moon of Winter­ Although pleasant in the settings with Ricardo Kanji and Frans Brüggen . time,” the old French carol “Une Jeune German Suite is a set of six songs KEY: rec=recorder; S’o=sopranino; Pucelle” appears in the version created S=soprano; A=alto; T=tenor; B=bass; taken from a huge compendium of by French Jesuit missionary Jean de gB=great bass; cB=contra bass; Tr=treble; German songs, Liedbuch für Schleswig– qrt=quartet; pf=piano; fwd= foreword; Brébeuf in early 17th-century Mont­ opt=optional; perc=percussion; pp=pages; Holstein .The lyrics are all in German . réal . Known as the “Huron Carol,” it sc=score; pt(s)=part(s); kbd=key­board; Songs are separated by ritards, fermati was first written in the Huron lan- bc=basso continuo; hc=harp­sichord; and key changes, resulting in a contin- P&H=postage/handling . Multiple reviews guage (as “Jesus Ahatohonia”), then by one reviewer are fol­lowed by that uous suite .These transitions do not translated into French and English . review­er’s name . Publi­ca­tions can be pur- always work well . Never­theless, our In this version of the nativity story, chased from ARS Business Mem­bers, consort found this suite fun to play . your local music store, or directly from placed in early North America, the some distributors . Please submit music Silcocks has scored these for high and books for review to: Sue Gros­kreutz, “mighty Gitchi Manitou” sends angel 1949 West Court St., Kankakee, IL 60901 U.S., and low choirs, often playing simulta- choirs to a “bark lodge” where the baby [email protected]. neously . We tried high choir and low

www.AmericanRecorder.org Winter 2012 29 choir, but we do not have the forces to into a tuner device and see how hard it play both choirs together . If only one Technique Tip is to keep the tuner from moving at all . choir is used, we preferred the high . Bellows for Smooth Breath When I was in college, I spent Silcocks really wanted a double choir, hours trying to stop all movement of as she indicates in the parts where each By David Coffin, Boston, MA the tuner and was finally able to “see” choir should play or not play . my heart beat against my lungs: no Ranges are comfortable, although I have always considered the recorder vibrato, no wavering of the sound . the bass does go up to high D and E . one of the easiest wind instruments to In the “olde days,” all the fireplaces All parts participate in the melodies . play—a primary reason most elemen- had a bellows to blow the embers hot . Printing is excellent on sturdy tary school students are taught the If you gently, but evenly, squeeze the paper .This suite would be appropriate recorder as their first instrument . Pick bellows, the air comes out smoothly . for the average intermediate-level con- it up, blow into it: instant satisfaction . Try to imagine a small set of bellows in sort—with the required eight players We can’t say that about the flute . your diaphragm as the tool for blow- and the appropriate instruments . Using In reality, it’s the hardest wind ing .That will help create that pure only high choir can also be effective . instrument to play well because it’s one Either should be accompanied by large sound so unique to the recorder . of only two wind instruments that uses steins of good German bier . Coffin has played the recorder since Bill Rees is music director of the Bella all of your air .You blow across the age four. In his school enrichment pro­ Vista Recorder Consort in Arkan­sas. Prior flute, against the reeds or brass mouth- grams, with over 50 instruments and to retirement he taught woodwinds and pieces, into the bag, etc . Blow­ing a few lame jokes, he demonstrates how music education at East Texas State Uni­ against something creates resistance, much fun the recorder is, how versatile it versity (now Texas A&M–Com­merce), making it easier to control the sound; is, and how it’s one of only a handful of and performed on recorder and traverso it requires more strength in blowing, wind instruments that fit in your back with the Texas Baroque Ensemble. He has and less need for subtle control . pocket. Just don’t sit down. A generous Ace Recorder™ App been active in the recorder movement since Like the voice, the recorder grant now makes his the ’60s and served on the ARS Board. requires incredible breath control to free for all trying to improve their skills, create a pure sound .Try playing a note www.davidcoffin.com/acerecorder.

30 Winter 2012 American Recorder Chapters & Consorts ______More Play-the-Recorder Month 2012, ______chapter news both recent and eons ago

Muriel Lem writes that, when jazzman own tenor and lower recorders (includ- John Tyson was a prelude to a con- and “Schoolhouse Rock!” music direc- ing great basses, two contra basses and cert by his group Renaissonics at a tor Bob Dorough came to Austin, TX, a subgreat bass) .Two technique classes nearby church . In September, a “Next for a gig this year, he probably didn’t bear mentioning: a beginner group for Level” retreat was held at Wild­acres in expect to be asked about Eons Ago Blue, those who have played wind instru- Little Switzerland, near the Blue Ridge an Austin Chapter favorite . He com- ments, led by Neil Seely, and an early Parkway . Five CMRS members enthu- posed the piece for ATTB recorders in notation class with Marian Henry . siastically honed their skills under lead- the early 1950s, when Dorough played The chapter’s outreach group, with ers Frances Blaker and Letitia Berlin . with LaNoue Davenport and other the goal of exposing pioneers of the early music revival . more people to the “LaNoue and I lived in the same build- recorder’s possibili- ing in New York,” says Dorough .“He ties, has attracted 10 wanted me to sing in his [early music] to 15 players who group ”. He says the piece may be give informal perfor- published soon . (To celebrate its 30th mances at various anniversary, “Schoolhouse Rock!” has venues—including a a DVD available featuring the top 25 reception introducing songs of the series, many written by a cookbook spon- Dorough; try www.amazon.com ). sored by a church Liz Seely of the Rochester (NY) consortium, a large Chapter reports that volunteers last garden show, and a year led four consorts: Sacred Music, senior-living community . Farmers’ More Play-the-Recorder Beyond Baroque, Dance with Percus­ markets kept them busy in the sum- Month (PtRM) News sion, and Low-Pitch League Plays mer; upcoming is a demonstration for Kokopelli Recorder Ensemble per- Madrigals for chapter members who youngsters at a Montessori school . formed with a choral group for several Olde Pipes In Charleston, SC, March PtRM concerts in the Bethesda, Consort at Lowcountry Senior Center MD, area . Playing pieces from Medi­ (LCSC) held a July event to celebrate eval to contemporary, on sopranino to 10 years of service by and the retire- contra bass, were (l to r above): Steve ment of Hillyer Rudisill III . Janet Ono, Marge Weisberg, Candace Jones was welcomed as the group’s new Riding­ton, Gerry Wright, Mollie director . After the 2002 opening of Haber­meier, Reiko Yoshimura and LCSC, Rudisill formed a beginning ARS teacher/group director Carole recorder class of three novice stu- Rogentine . dents—now a group of 22 members, der blockflote Konsort, a recorder with additional recorder ensembles . ensemble within the Greenville (NC) Carolina Mountain Recorder ARS chapter—which formed just over Society (CMRS) stayed busy last year a year ago and already has more than with monthly get-togethers in Brevard, 30 members— played at St . Paul’s NC, attended by enthusiasts from sur- Episcopal church last March .The rounding towns, some driving several Konsort has 10 recorderists, soprano to hours . On April 17, a workshop led by great bass: Lynne Marks, David

www.AmericanRecorder.org Winter 2012 31 STATEMENT OF OWNERSHIP, MANAGEMENT AND CIRCULATION American Recorder magazine. Publication 0003-0724. 9/27/2011. Bi-monthly except summer. 5 issues. $36 per year. Association and Publisher address: Kathy Sherrick, American Recorder Society, 10000 Watson Rd, Ste . 1L7, St . Louis, MO 63126; 314-966-4082; Editor: Gail Nickless, 7770 South High St ,. Cen­tennial, CO 80122; Owner: American Recorder Society, 10000 Watson Rd, Ste . 1L7, St . Louis, MO 63126 . No bond holders, mortgagees, or other security holders. Purpose, function, and nonprofit status of American Recorder Society has not changed in preceding 12 months. Circulation September 2012: (Average number of copies each issue in preceding 12 months/Actual number of copies of single issue published nearest to filing date): a) Net press run (2320/2300); b) Paid and/or requested circulation: Outside-county mail subscriptions (1865/1843) (2) In-county mail subscriptions (0/0) (3) Sales through dealers, carriers, street vendors, coun- ter sales and other non-USPS (0/0) (4) Other classes mailed through USPS (113/117); c) Total paid and/or requested circu- lation (1978/1960); d) Free distribution by mail (samples, Bjorkman, Elaine Yontz, Greg Albuquerque (NM) Recorder complimentary and other free: 1) Outside-county USPS rate (0/0) 2) In-county USPS rate (0/0) 3) Other classes mailed Despopolous, Jack Fisher, Robert Orchestra through USPS (100/96); 4) Free distribution outside the mail members celebrated PtRM (13/37); e) Total free distribution (113/133); f) Total distribu- Gennings, Jon Shaw, Bill Bivins, by playing for an appreciative audience tion (2091/2093); h) Copies not distributed (309/186); i) Total Cathee Huber Lisa Stockard (2300/2279); j) Percent paid and/or requested circulation and . at the Manzano Del Sol Retirement (94.60%/93.65%). Providence The newly-formed Center, offering the program “Pearls Consider advertising in Players—residents of Lake Providence, and Perils of Love ”. Led by Ray Hale, a Del Webb retirement community in others playing were Ruthann Janney, Mt . Juliet, TN (near “Music City” Sharon Malone, Kees Onneweer and Nash­ville)—charmed listeners in their Carolyn Shaw . For current rates and specifications, see www.americanrecorder.org/pubs/adver.htm. clubhouse with a fireside concert to CHAPTER NEWS Please inquire about discounts on multiple- celebrate St . Patrick’s Day and PtRM . issue contracts or other special requests. Chapter newsletter editors and publicity offi­ Advertising subject to acceptance by Group members have in common that cers should send materials for publication to: magazine. Reservation Deadlines: [email protected], they are all new to the recorder (some AR, January 1 (Spring), April 1 (Summer), 7770 South High St., Centennial, CO July 1 (Fall), October 1 (Winter). learning to read music) and all over age 80122-3122. Also send short articles about For more information, contact the ARS office, 55—and all are enthusiastic! Directors specific activities that have increased chapter 10000 Watson Rd., Ste. 1L7, Saint Louis, MO Linda Rising and Karl Rehmer have membership or recognition, or just the 63126; 800-491-9588 toll free; 314-966-4082 enjoyment your members get out of being part phone; 866-773-1538 fax; recently moved to this community, giv- of your chapter. Digital photos should be at [email protected] ing lessons, loaning instruments, dis- least 3”x4”x300dpi TIF or unedited JPG Classified rate for American Recorder: 60¢ per tributing music and infusing passion files. Digital videos for the AR YouTube channel are also accepted. 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AMERICAN ORFF-SCHULWERK ASSN...... 15 American Recorder (ISSN: 0003-0724), PO Box 220498, St. Louis, MO 63122-0498, is pub- AMERICAN RECORDER SOCIETY...... 1, 3, 5-7, 9 lished bimonthly (January, March, May, September and November) for its members by the American AMHERST EARLY MUSIC FESTIVAL...... 24 Recorder Society, Inc. $20 of the annual $45 U.S. membership dues in the ARS is for a subscription STEPHAN BLEZINGER...... 14 to American Recorder. Articles, reviews and letters to the editor reflect the viewpoint of their indi- JEAN-LUC BOUDREAU...... 6, 26 vidual authors. Their appearance in this magazine does not imply official endorsement by the ARS. EARLY MUSIC AMERICA...... 15 HONEYSUCKLE MUSIC ...... 28 Editorial Deadlines: December 15 (Spring), March 15 (Summer), June 15 (Fall), and LISETTE KIELSON, RECORDER PLAYER ...... 31 September 15 (Winter). Submission of articles and photographs is welcomed. Articles may be sent BILL LAZAR’S EARLY MUSIC...... 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32 Winter 2012 American Recorder