Published by the American Recorder Society, Vol. LIII, No. 1 • www.americanrecorder.org 2 1 0 2 y r a u n a j Moeck-Anzeige-Natur.indd 1 07.07.2010 11:53:09 Uhr

NEW!

Enjoy the recorder Denner great bass Mollenhauer & Friedrich von Huene

“The Canta great bass is very intuitive to play, making it ideal for use in recorder “The new Mollenhauer Denner orchestras and can be great bass is captivating with recommended .” its round, solid sound, stable in every register. Its key mechanism Dietrich Schnabel is comfortable and especially (conductor of recor- well designed for small hands. An der orchestras) instrument highly recommended for both ensemble and orchestral playing.”

Daniel Koschitzky Canta knick great bass (member of the ensemble Spark) Mollenhauer & Friedrich von Huene

G# and E keys enable b larger finger holes

and thus an especially

stable sound.

The recorder case with many extras With adjustable support spike … saves an incredible amount of space with the two-part middle joint … place for music … integrated recorder stand

www.mollenhauer.com Order-No. 2646K Order-No. 5606 NEW! Editor’s ______Note Enjoy the recorder Denner great bass ______Volume LIII, Number 1 January 2012 Mollenhauer & Friedrich von Huene ______

ears ago, I remember my civil Features engineer father giving me advice: Reverie for Play-the-Recorder “IfY it’s not fun, why do it?” We were talk- Month—and Recorder Day! ...... 8 ing about career choices, in light of his Composers/Arrangers Special by Mark W.F. Fischer 35 years of dedication in working for the Arranged for recorders by David W. Fischer same employer, and of his approaching “The Canta great Variation Technique: 4 retirement .We both enjoy building bass is very intuitive Jacob van Eyck as a homo ludens ...... 10 things—me out of sound and words, to play, making it By Thiemo Wind him out of materials more tangible . ideal for use in recorder “The new Mollenhauer Denner Perhaps Jacob van Eyck, as depicted Departments orchestras and can be great bass is captivating with in Thiemo Wind’s article in this issue Advertiser Index and Classified Rates ...... 36 recommended .” its round, solid sound, stable in (page 10), would agree with my father . Chapters & Consorts ...... 24 every register. Its key mechanism Wind examines the idea of play, and Dietrich Schnabel Chapters recommend new music to play; is comfortable and especially Van Eyck as a “playing human.” (conductor of recor- of a three-generation consort well designed for small hands. An der orchestras) The element of play surely must be moti- 10 instrument highly recommended vation for anything done only for joy; Compact Disc Reviews ...... 22 for both ensemble and orchestral surely playing the recorder must be fun, Tom Bickley reviews two by L’Ensemble Portique, playing.” or we wouldn’t do it . plus Ensemble Electra and Flûte Alors! Play-the- This year’s selection for Education ...... 35 Daniel Koschitzky Recorder Month Canta knick great bass is Reverie—a piece Mary Halverson Waldo is just back from Brazil, (member of the ensemble Spark) for everyone to play all month long and reporting on the passion for excellence there especially on Recorder Day! (page 8) . Mollenhauer & Friedrich von Huene Music Reviews ...... 28 Be sure to e-mail me if you have digital G# and E keys enable Sonatapalooza! b video to post on the American Recorder 18 larger finger holes YouTube channel of your group’s perfor- On the Cutting Edge ...... 18 and thus an especially mance of this father/son musical effort . Tim Broege wonders how new recorder pieces written stable sound. Other pieces to play are mentioned for Eighth Blackbird and for Aldo Abreu measure up Chapters & Consorts in (page 24) and President’s Message ...... 3 Music Reviews examined in the depart- ARS President Lisette Kielson updates you on ment (page 28) that focuses on sonatas Board activities and the ARS Annual Meeting and sonatinas . Play away! Gail Nickless Tidings ...... 4 Paetzold recorders relocate; concert reports www.youtube.com/user/americanrecordermag 35 from Toronto and New York City; a summary www.facebook.com/americanrecordermag of happenings at the Greenwich Festival; www.facebook.com/AmerRec Happy Anniversary, SFEMS (35) and VdGSA (50)

Gail Nickless, Editor ON THE COVER: Le Nain, Louis (1593-1648) Contributing Editors Tom Bickley, Compact Disc Reviews • Frances Blaker, Beginners & Technique (after): Peasant Interior with an Old Flute Player. Réunion Timothy Broege, 20th/21st-Century Performance • Carolyn Peskin, Q & A des Musées Nationaux/ Sue Groskreutz, Book & Music Reviews • Mary Halverson Waldo, Education Art Resource, NY; Palais des Advisory Board Beaux Arts, Lille, France Martha Bixler • Valerie Horst • David Lasocki • Bob Marvin ©2012 American Recorder Society The recorder case with many extras With adjustable support spike Thomas Prescott • Catherine Turocy• Kenneth Wollitz … saves an incredible amount of space with www.AmericanRecorder.org the two-part middle joint Copyright©2012 American Recorder Society, Inc. … place for music … integrated recorder stand

www.mollenhauer.com Order-No. 2646K Order-No. 5606 ARS Chapters Alabama Hawaii Long Island: Barbara Zotz (631-421-0039) Alabama Recorder Assoc :. Jennifer Hawaii: Irene Sakimoto (808-734-5909) New York City: Gene Murrow Garthwaite (256-586-9003) Big Island: Roger Baldwin (646-342-8145) Birmingham: (808-935-2306) Rochester: Liz Seely (585-473-1463) Janice Williams (205-870-7443) West Hawaii Recorders: Rockland: Jacqueline Mirando AMERICAN Arizona Marilyn Bernhardt (808-882-7251) (845-624-2150) Desert Pipes (Phoenix): Idaho Westchester: RECORDER George Gunnels (480-706-6271) Les Bois (Boise): Erica Babad (914-769-5236) Arizona Central Highlands Kim Wardwell (360-202-3427) North Carolina SOCIETY (Prescott): Georgeanne Hanna Illinois Carolina Mountains: inc. (928-775-5856) Ro Metcalf (828-685-7854) Tucson: Scott Mason (520-721-0846) Chicago: Dennis Sherman (773-764-1920) Greenville Recorder Society Arkansas John Shaw (252-355-2737) Honorary President Chicago–West Suburban: Triangle: Mary McKinney Aeolus Konsort: Judy Stephens (630-740-0880) Erich Katz (1900-1973) (919-489-2292) Don Wold (501-666-2787) Louisiana Honorary Vice President Bella Vista: Barbara McCoy Ohio Winifred Jaeger (479-855-6477) Baton Rouge: Greater Cleveland: California Cody Sibley (225-505-0633) Edith Yerger (440-826-0716) New Orleans: Toledo: Charles Terbille (419-536-3227) Statement of Purpose Central Coast: Margery Seid Victoria Blanchard (504-861-4289) Oregon The mission of the American Recorder Society (805-474-8538) Maryland East Bay: Susan Jaffe (510-482-4993) is to promote the recorder and its music by Eugene: Lynne Coates Inland Riverside: Greg Taber Northern Maryland: (541-345-5235) developing resources and standards to help (951-683-8744) Richard Spittel (410-242-3395) Oregon Coast: Corlu Collier people of all ages and ability levels to play and Monterey Bay: Susan Renison Massachusetts (541-961-1228) (831-335-5869) study the recorder, presenting the instrument Boston: Betty Cohen (617-447-5412) Portland: Zoë Tokar (971-325-1060) North Coast: Kathleen Pennsylvania to new constituencies, encouraging increased Kinkela-Love (707-822-8835) Recorders/Early Music Metro-West Boston: Sheila career opportunities for professional recorder Orange County: Bloomsburg Early Music Ens :. Jo Redmon (714-527-5070) Beardslee (978-264-0584) Susan Brook (570-784-8363) performers and teachers, and enabling and Redding: Kay Hettich Worcester Hills: Doug Bittner Erie: Linda McWilliams supporting recorder playing as a shared social (530-241-8107) (508-852-6877) (814-868-3059) Sacramento: Mark Schiffer Michigan Philadelphia: experience. Besides this journal, ARS publishes (916-685-7684) Sarah West (215-984-8359) a newsletter, a personal study program, a San Diego County: Harvey Ann Arbor: Margaret Bond Pittsburgh: Helen Thornton (734-665-6597) directory, and special musical editions. Society Winokur (619-334-1993) (412-486-0482) San Francisco: Greta Hryciw Kalamazoo: David W . Fischer Rhode Island members gather and play together at chapter (415-377-4444) (269-375-0457) meetings, weekend and summer workshops, Sonoma County: Metropolitan Detroit: Claudia Rhode Island: Novitzsky (248-548-5668) David Bojar (401-944-3395) and many ARS-sponsored events throughout Dale Celidore (707-874-9524) South Bay: Northwinds Recorder Society: Tennessee the year. In 2009, the Society enters its Janet Smith (231-347-1056) Liz Brownell (408-358-0878) Greater Knoxville: eighth decade of service to its constituents. Southern California: Western Michigan: Jocelyn Shaw ( 231-744-8248) Ann Stierli (828-877-5675) Sharon Holmes (310-379-2061) Greater Nashville: Carol Vander Wal Colorado Minnesota Board of Directors (615-226-2952) Twin Cities: Southern Middle Tennessee (Tullahoma): Lisette Kielson, President Boulder: Mike Emptage (970-667-3929) Barbara Aslakson (952-545-3178) Vicki Collinsworth (931-607-9072) Laura Sanborn–Kuhlman, Denver: Dick Munz (303-286-7909) Missouri Texas Fort Collins: Sherry Pomering Vice President; Fundraising Chair St . Louis: Austin: Frank Shirley (512-832-5600) (970-484-0305) Dallas: Alice Derbyshire (940-300-5345) Susan Richter, Secretary Early Music Society of Western CO: Norm Stoecker (636-230-9337) Nevada Rio Grande: Ann Stickney, Treasurer, Finance Chair, Bev Jackson (970-257-1692) Sylvia Burke (575-522-1742) Membership Co-Chair Connecticut Sierra Early Music Society: Utah Matt Ross, Asst. Secretary; Governance Chair Connecticut: Elise Jaeger Kathy Bohrer (775-393-9002) New Hampshire Utah (Salt Lake): Mary Johnson Bonnie Kelly, Asst. Treasurer; (203-792-5606) (801-272-9015) Membership Co-Chair Eastern Connecticut: Monadnock: Vermont Joyce Goldberg (860-442-8490) Kristine Schramel (413-648-9916) Mark Davenport, Program Chair District of Columbia & Lynn Herzog (802-254-1223) Monadnock: Jeanne Lynch, Marketing/ Kristine Schramel (413-648-9916) Washington: Art Jacobson New Jersey & Lynn Herzog (802-254-1223) Public Relations Chair (301-983-1310) Bergen County: Virginia Nancy Buss Mark Dawson Delaware Mary Comins (201-489-5695) Northern Virginia: Greg Higby Mary McCutcheon Brandywine: Roger Matsumoto & Reita Powell (201-944-2027) Highland Park: Donna Messer Edward Friedler (703-425-1324) (302-731-1430) Shenandoah (Charlottesville): Florida (732-828-7421) Staff Montclair Early Music: Gary Porter (434-284-2995) Ft . Myers: Sue Groskreutz Julianne Pape (845-943-0610) Tidewater (Williamsburg): Kathy Sherrick, Administrative Director Vicki H . Hall (757-784-2698) (239-267-1752) Navesink: Lori Goldschmidt 206A Crestwood Plaza Gainesville: Peter Bushnell (732-922-2750) Washington Saint Louis, MO 63126-1703 U.S. (352-376-4390) Princeton: Orum Stringer Moss Bay: 800-491-9588 toll free Largo/St . Petersburg: (215-295-7149) James Verschaeve (253-249-4272) Elizabeth Snedeker (727-596-7813) New Mexico Seattle: Tomo Morita (425-301-5767) 314-961-1866 phone Miami: Ruth Trencher (305-665-3380) Wisconsin 866-773-1538 fax Orlando Consort: Sheri Grayson Albuquerque: Bryan Bingham (407-299-3076) (505-299-0052) Milwaukee: Carole Goodfellow [email protected] Palm Beach: Gail Hershkowitz Las Vegas (Flat & Baroque in Las (262-763-8992) www.AmericanRecorder.org (561-732-5985) Vegas): Tom Curtis (505-454-4232) Southern Wisconsin: Sarasota: Rio Grande: Greg Higby (608-256-0065) In accordance with the Internal Revenue Service Nancy Paxcia-Bibbins (941-536-0621) Sylvia Burke (575-522-1742) Canada Taxpayer Bill of Rights 2, passed by the United States Georgia Santa Fe: Gus Winter (505-603-8034) New York Edmonton: Nils Hahn (780-443-3334) Congress in 1996, the American Recorder Society makes Atlanta: Montréal: freely available through its office financial and Mickey Gillmor (404-872-0166) Buffalo: Mark Jay (716-649-1127) Mary McCutcheon (514-271-6650) incorporation documents complying with that regulation. Hudson Mohawk: Toronto: Sharon Geens (416-699-0517) Lee Danielson (518-785-4065) Please contact the ARS office to update chapter listings. 6 January 2012 American Recorder President’s Message ______Greetings from Lisette Kielson, ARS President [email protected]

appy New Year, Everyone! I hope Members’ Library Editions; awarding Liaison Jeanne Lynch, the site will be you all had a peaceful and joyous scholarships and grants; organizing more intuitive and easy to navigate, up- holidayH season filled with any combi- Play-the Recorder-Month activities; to-date in structure, and more compre- nation of much-deserved rest, new- presenting the Distinguished Achieve- hensive to include the resources that found excitement, giddy laughter, ment Award and Presidential Special are important and helpful to you . meaningful reflection and special Honor Award; revising the ARS It is an election year for the ARS treats! Chapter Handbook; making available a Board, as it is for the national govern- Once again, another year has 2010 printed Membership Directory; ment .With recommendations from come and gone . My, oh my! If there and auditing the Bylaws . you and the Board, the Nominating is one thing in life of which we can Since then, the Membership Task Force (Nancy Buss, chair) has be absolutely certain, it is that time Committee (Ann Stickney and compiled a strong ballot of candidates . passes . (Hopefully, it doesn’t pass us Bonnie Kelly, co-chairs) launched a Watch for it in the March AR . by—we mustn’t let it!) new membership campaign . And ARS And, it’s a festival year (brochure You can also be certain of this: chapters, you benefit! With every new and registration form in this AR issue)! your Board of Directors has been and lapsed individual membership to Just three years after the successful fes- working hard .With jobs, families, and the ARS, affiliated chapters receive $5 . tival in St . Louis, MO, the ARS is pre- busy lives outside the ARS, the Board Although not a huge rebate, it can cer- senting another festival—this time in works many hours—with great com- tainly add up! the Pacific Northwest’s Reed College, mitment and dedication, with great The Fundraising Committee Portland, OR, on July 5-8 . Please join intent and excitement—on strengthen- (Laura Kuhlman, chair) inspired the us in celebrating “The Recorder: Past, ing the organization . fall fund drive: A Dollar a Day to the Present, and Future ”. Visit the web site ARS .You can still make your pledges often for updated festival details . Here I mention a few and donate anytime! It’s going to be an amazing year Major work is being done on for the ARS—you can be certain of it! activities that represent the ARS web site . Led by Web Site regular, yearly goals ..., Provincetown Bookshop Editions as well as extra, special accomplishments. “GO FOR NEO-BAROQUE!” Andrew Charlton: Partita Piccola. For 4 Recorders (SATB) [Prelude; Allemande; Courante; Musette— As reported at the ARS Annual a neo-baroque epitome!] (Score & Parts, PBE-25) . . . $7.95 Membership Meeting last October (Thank you, Chicago Chapter, for Andrew Charlton: Suite Moderne. For 3 Recorders (ATB) hosting the event!), the Board accom- [Baroque shapes but Hindemithian harmony] (3 Playing-Scores, PBE-44) ...... $9.95 plished a lot last year! Here I mention a few activities that represent regular, Southwest of Baroque. David Goldstein’s “baroque Suite” yearly goals of the organization as well on Cowboy Songs. For 2 Recorders (SA) (PBE-2) . . $3.50 as extra, special accomplishments: A good source for Recorder & Viol Music of all publishers. holding two productive board meet- ings; publishing the American Recorder The Provincetown Bookshop, Inc. (AR) magazine, newsletter and 246 Commercial Street, Provincetown, MA 02657 Tel. (508)487-0964

www.AmericanRecorder.org January 2012 7 Tidings ______Paetzold recorders to be made at Kunath Instrumentenbau, ______reports on concerts a-plenty around the continent and abroad Square recorders on the move After 35 years of production in Eben­ Frans Brüggen, Paul Leenhouts, hofen, Germany, Paetzold square bass Nadja Schubert, Dietrich Schnabel, recorders will soon be made in Fulda by Quartet New Generation, Flautando Jo Kunath Instrumentenbau . During Köln, Spark and others use square bass the successful history of the square recorders in concerts and studio work . recorders, they have been connected To continue the instruments’ tradition with the inventive mind and creativity without interruption, Paetzold and of Herbert Paetzold (right) and his Kunath will make square bass recorders Ebenhofen workshop, following the in collaboration, with a training phase ideas of his uncle Joachim Paetzold . for Fulda staff in Ebenhofen— Besides being available to consult with “preserving the fire and not the cinder ”. Kunath, Herbert Paetzold will devote Through 2/29/2012, orders can be himself to making round recorders and placed with Paetzold . Starting on transverse flutes, and to the courses and 3/1/2012, please contact Kunath concerts offered in the Flötenhof Instrumentenbau, www.kunath.com . (www.alte-musik.info), which he oper- Through the transition, local dealers ates with his wife Christina Paetzold . can also place orders appropriately .

8 January 2012 American Recorder Toronto-based Ensembles For this concert, there were four heard was by Ensemble Polaris, which in Performance principal singers, joined by four others I heard last May in St . Catharines, ON . at times, plus an organist and 13 other One of Canada’s world renowned By Patricia Grimes, St. Catharines, early instrumentalists playing various recorder players, Alison Melville, was ON, and St. Petersburg, FL sizes of violin, viola, ’cello, double bass, a founding member of both of the theorbo, sackbut, cornetto and dulcian . Toronto ensembles in this report . In October I attended a concert in The concert included two lovely sona- Started in spring 1997, Ensemble Toronto, ON, of Canada’s leading tas for organ and string instruments, Polaris combines the diverse talents of ensemble specializing in the music of and lively dances with quick passages seven gifted instrumentalists from the Middle Ages and the Renaissance . alternating with slow melodic sections . Toronto’s early, folk, new, improvisa- Formed in 1972, The Toronto Con­ The centerpieces of the concert tional and independent music genres, sort under artistic director and con- were three Psalm settings, magnifi- plus one singer .Their repertoire con- ductor David Fallis has performed all cent music employing all of the instru- sists of “ancient songs with extraordi- over Canada, the U S. ,. Great Britain ments and singers: Laetatus sum, Dixit nary words, laments and dances, all and Europe, and it frequently collabo- Dominus, and Laudate pueri .They were, reworked for modern ears ”. Instru­ rates with other early music ensembles . in turn, bright and happy; imitating ments included guitar, harp, bagpipes, The composer featured on this military music and its effects; and joy- accordion, violin, psaltery, ’cello, hurdy- concert, “Venetian Splendour: the ful with jaunty rhythms, as well as dra- gurdy, nyckelharpa, flutes, recorders, Music of Johann Rosenmüller,” was matic with exotic chords and chromati- seljefloyte (these three winds played by most interesting . Rosenmüller was cism .There was much word painting . Melville), clarinet and percussion . Not born in 1619 in Saxony and died in It was intriguing to hear how the voices only the music but this great variety of 1684, remaining largely unknown went from four to six or eight and back instruments (each member playing sev- today, mostly because his music was again; and to hear voices and instru- eral) made the concert unforgettable . not widely available . Only some of his ments alternating and coming together . Called “Who’s Who in Valhalla,” instrumental music was published in Both for contrast and comparison, this concert consisted of arrangements the 17th century . His large output of there were two works by Heinrich of traditional Nordic tunes . It was fas- vocal music has been available in mod- Schütz for strings, winds and organ, cinating to hear the music, see the ern editions only in the last 10 years . as well as a suite of dances by Johann instruments (especially the unfamiliar Rosenmüller went to Italy and Schein .The latter was cantor in Leip­ ones) and marvel at the multi-talented became one of the leading musicians zig when Rosenmüller studied there, performers .Visit www.youtube.com/ there, a virtuoso trombonist as well as influencing the younger composer’s user/EnsemblePolaris1 to see and hear composer . He worked from 1678-82 at dance suites .The music of Schütz also them . the same orphanage that Vivaldi later influenced that of Rosenmüller; both Each group’s web site includes made famous . His instrumental music contributed to bringing the latest photos and information such as a con- consists of dance suites, sonatas and Italian developments in music to cert schedule: www.torontoconsort.org canzonas, while his numerous vocal Germany . and www.ensemblepolaris.com . If you compositions in many forms include Another concert with music have the chance to hear either ensem- settings of Psalms and magnificats . totally unlike any this writer has ever ble live, be sure to go . Bits & Pieces To prepare for the 50th anniver- and a recorder sonatina sold in the ARS sary of Anthony Burgess’s 1962 book Erich Katz Contemporary Music Series . A Clockwork Orange, November saw the A new blog, the Early Music world premiere in Manchester, UK, of Pioneers Archive, covers figures who Happy anniversary to . . A Clockwork Operetta, settings by Uni­ rediscovered pre-1800 repertoire, play- • San Francisco Early Music ver­sity of Man­chester’s Kevin Malone ing it in authentic style on period Society, in its 35th concert season of lyrics by Burgess (who died in 1993) . instruments . Posts tell the stories of • Viola da Gamba Society of While the five songs did not appear in scholars, performers, discoverers and America, celebrating its 50th year the movie, they were in his popular makers of instruments, collectors and and planning its 50th Anniversary stage play . Besides some 70 literary others, from Arnold Dolmetsch Conclave July 22-29 at the works, Burgess wrote more than 250 onward .The site needs readers, follow- University of Delaware musical works including stage musicals, ers and commenters, and welcomes symphonies, a piano concerto, a ballet, crowdsourcing at www.semibrevity.com . www.AmericanRecorder.org January 2012 9 Recorders in New York City alto recorder in the Bb major and D low (arranged by Denis Blood­worth— minor sonatas, both from Essercizii and, keeping with the willow theme, By Anita Randolfi, New York City, NY Musici; for the Sonata in B minor from Scott Joplin’s Green Willow . RONY Tafelmusik, she switched to transverse was joined by vocalist Lucy Field for At Alice Tully Hall on August 14, as flute . Booth’s playing displayed neat a delicious encore: Duke Elling­­ton’s part of the 2011 Mostly Mozart technique, fine gradations in dynam- Mood Indigo . Bravi, RONY! Festival, the Philharmonia Baroque ics, and expressive legato in the slow The Huelgas Ensemble, an early Orchestra under director Nicolas movements . Rapp was able and sensi- music group from Belgium directed McGegan presented Handel’s opera tive as collaborator . It was a pleasure to by Paul Van Nevel, was in concert at Orlando .There was some nice recorder hear this repertory, so well-known to Manhattan’s Church of St . Mary the playing from band members Hanneke many recorder players, so well played . Virgin on November 12 .The program van Proosdij and Gonzalo Ruiz . The eastern end of Long Island, titled “Medieval Apocalypse” was part Impressively, they were both doing at the edge of the New York City met- of the White Night Festival (October double duty: van Proosdij on continuo ropolitan area, is home ground for the 20-November 19), sponsored by harpsichord, and Ruiz playing oboe . intrepid Recorder Orchestra of New Lincoln Center as “an exploration Recorders were heard even more York (RONY) . Led by Patsy Rogers, of the transcendent in music ”. exten­sively in the presentation by Les the orchestra played its fall program On the program, many selections Arts Florissants of Lully’s opera Atys twice: at the Jamesport (NY) Meeting from the 13th and 14th centuries were at the Brooklyn Academy of Music, House on October 30; and at Peconic by the ubiquitous anonymous; also September 20, 21, 23 and 24 . I heard Land­ing in Greenport, NY, on included were the famous Viderunt the September 21 performance . Novem­ber 6 . I heard the latter . Omnes by Perotinus, and the Kyrie and Atys lasts a Wagnerian four hours, With 17 members, RONY is Gloria movements from the Missa de but William Christie’s performers, especially rich in low recorders . I Notre Dame by Machaut . The nine steeped in Lully’s high-toned style counted seven C basses and a big singers of the Huelgas Ensemble were and aided by elegant costumes and F bass .This accounts, in part, for supplemented by two trombone and sets, moved the opera along at a fair RONY’s rich, grounded sound . three recorder players .The instru- pace . Recorders were heard through­ The carefully prepared program, ments were used to support and enrich out the opera from the pit, but they titled “The Unexpected Recorder” and the vocal lines . Only Cum martelli, an joined the stage action during the act arranged in historical order, started anonymous Italian piece that made III dream scene, when Atys learns the with a 14th-century dance, through extensive use of hocket, was entirely goddess Cybele loves him .The sump- Renaissance and Baroque pieces, and instrumental .The recorder players tuously costumed instrumentalists ended with early-20th-century music . were Bart Coen, Peter de Clercq and played Lully’s mysterious and har- I particularly enjoyed the exchange of Silke Jacobsen . monically intricate ensemble (scored phrases between high and low record- The Chelsea Winds Recorder for three recorders—Sebastien Marq, ers that made up the entire mono- Ensemble, in which I play, started its Evolene Kiener and Michelle Teller phonic tune of the program’s opening season with an October 20 concert at —plus two transverse flutes and lutes) 14th-century anony­mous saltarello . historic St . Ann and the Holy Trinity from memory .This scene was, easily, Also memorable was Josquin’s famous Church in Brooklyn Heights . Usually the most beautiful in the opera . chanson Mille Regretz, followed by the Chelsea Winds includes several 20th- Ensemble Breve’s members Kyrie from the Missa Mille Regretz by and/or 21st-century pieces on the pro- Deborah Booth, recorder and flute, Cristóbal de Morales . Juxtaposition of gram .This “Baroque-n-Recorders” and Stephen Rapp, harpsichord, pre- the two made vivid Morales’s masterly program was an exception, consisting sented a short program at Immanuel use of parody technique . of trios by Vivaldi and Handel . Lutheran Church in Manhattan on Also impressive was their articu- Readers might want to check October 12 .Titled “Telemania,” it late reading of the Heinrich Schütz out the Handel fugues a3, in excellent consisted of four compositions from motet, “Das ist je gewißlich wahr,” arrangements by Friedrich von Huene . three separate collections by that most composed for the funeral of his fellow (The group played the A minor, prolific composer . Booth played composer J . H . Schein . C major and D minor) .The perform- soprano recorder in the Partita No. 4 The concert ended with George ers were Gregory Eaton, David Hurd from Die Kleine Kammermusik, and Butterworth’s The Banks of Green Wil­ and myself .

10 January 2012 American Recorder Greenwich International Early Music Festival

By Louis Nel, Tonbridge, Kent, UK exhibition ticket holders or at a nomi- The 10th anniversary Greenwich nal fee, ensuring a International Early Music Festival & full weekend . Exhibition returned November 11-13 2011 was the to the glorious setting of the Painted year of the biennual Hall (right) and Queen Mary Under­ Moeck/Society of croft at Old Royal Naval College in Recorder Players Greenwich, London . In this historic (SRP) Solo venue, the music seems to fit with Recorder Compe­ti­ the backdrop . Jointly promoted by tion Finals . It was The Early Music Shop, Greenwich adjudicated by a Founda­­tion and Trinity Laban Con­ distinguished panel servatoire of Music and Dance, it is (Matthias Maute, the world’s largest early music festival . Ibi Aziz and Emma Murphy) and fea- Renaissance, Baroque, contemporary The range of printed music and tured as finalists three exceptional and electronic music, displaying excep- the array of mostly handmade instru- young recorder players: Kerstin Fahr tional skill for his age . Fegers was the ments is absolutely vast—for me, it is (of Germany, most recently a student overall winner (providing her with a like walking into a huge Baroque mar- of Pierre Hamon), Yi-Chang Liang (a recital at the 2012 exhibition, plus a ketplace where nearly 100 exhibitors, native of Taiwan and a student of Erik cash prize donated by Moeck UK, SRP both established and new, are keen to Bosgraaf) and Eva Fegers (who studies and the Walter Bergmann Fund), with show and explain their instruments as with Dorothee Ober­linger at Yi-Chang second and Fahr third . well as allow you to try them .This is Mozarteum Salzburg) . On the previous evening, the a wonderful opportunity to find the The competition took place on three adjudicators (Maute, Aziz and instrument most suited to you .There November 13 in the Peacock Room Murphy), with David Wright (the are also a number of concerts and and was one of the free-admission new harpsichordist with Red Priest), makers’ demonstrations, either free to events .Their programs were varied, played in a concert in St . Alfege but each had to include Fantasie No. 8 Church .Their program included in G minor by Telemann; all also Vivaldi, J . S . Bach, Handel, Telemann, included some contemporary music . Bovicelli and a composition by Maute . Yi-Chang, only 19 years old, The event was performed to a packed played a diverse repertoire from church and was spellbinding . Honeysuckle Music

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www.AmericanRecorder.org January 2012 11 Composers/Arrangers Special for Play-the-Recorder Month Reverie for Play-the-Recorder Month—and Recorder Day! By Mark W.F. Fischer

Introduction and arrangement for Recorder2012 players Play-the-Recorder from across North America celebrate March Month as Play-the- recorders by David W. Fischer Recorder Month . Many ARS chapters plan special concerts and presentations to illustrate the versatility and beauty of this wonderful instrument . his piece was composed by my son Mark sometime in the 1990s . It Recorder Day! wasT conceived originally as an untitled The third Saturday in March, 3/17/2012, is designated Recorder Day!, when piano piece; it was not written out, but individuals and chapters around the world are encouraged to play David and was something he simply enjoyed play- Mark Fischer’s original composition Reverie .You can listen to a midi version on ing whenever he sat down at a piano . the ARS web site . The piece acquired its current form when I re-imagined the piece for Play-the-Recorder Month Contest recorder ensemble and requested it be Chapters and consorts should submit a Play-the-Recorder Month Contest written down . From that version, I Entry Form on their activities to be eligible for prizes for the “Most Creative adapted the piece to suit a recorder Event” contest .The deadline for the contest is April 15 . quartet, and gave it the present title . A steady tempo is required Play-the-Recorder Month Membership Special throughout most of the piece, as well ARS holds a Membership Special during Play-the-Recorder-Month . New as a steady breath pressure .This is a members, or those whose memberships have lapsed for more than 2 years, may good exercise in tuning, especially for join the ARS for $35 .That’s a 25% savings off the normal price of $45 . Join some of the more unusual chords . For online or send your Membership Special Application to the ARS office by example, the “chords” in measure 7 March 31 . and 8 are DEFG followed by ABCD Plan your celebration of Play-the-Recorder-Month . See our Timeline for —essentially expanded tone clusters . planning your events . For more information about Play-the-Recorder Month, Play them with confidence! see www.americanrecorder.org/events/ptrm.htm . The commas indicate the larger phrasings, and should be observed in all parts .Within the larger units, phrasing should be worked out to suit the flow of each part and the breath capability of the player . Some changes in tempo (faster, then slower) may be used in measures 15-19 and measures 20-27 . Players of the three lower parts need to be prepared for the accidentals in two places . Thanks to the ARS for selecting Reverie as this year’s Play-the Recorder Month piece . I hope it will find a place in the repertoire for chapters and ensembles .

12 January 2012 American Recorder Copyright ©2012 David W. Fischer and Mark W. F. Fischer. All rights reserved. ARS members may make photocopies of this music for their own use.

www.AmericanRecorder.org January 2012 13 Variation Technique: Jacob van Eyck as a homo ludens By Thiemo Wind he variation genre has, throughout the ages, suffered an image prob- Born in Enschede, The Netherlands, in 1961, Thiemo Wind studied musicology lemT .Various factors have led to this at Utrecht University with Marius Flothuis and Willem Elders, and recorder at bad press: the principle of repetition, Hilversum Conservatory. He has written many articles on early woodwinds and other the reliance on ornamentation, the subjects, specializing in Dutch 17th-century solo music for recorder. On May 29, 2006, danger of vacuous virtuosity, and the he defended his dissertation, Jacob van Eyck and the loose, strung-together structure . Others—Dutch solo repertoire for recorder in the Nevertheless, the art of variation Golden Age, at Utrecht University (see David Lasocki’s has survived these same centuries report in the September 2006 AR). The book became intact and even remained popular .The available in English in August 2011 from variations from Der Fluyten Lust-hof Koninklijke Vereniging voor Nederlandse by Jacob van Eyck (c 1590–1657). are Muziekgeschiedenis (KVNM). (This the stock-in-trade of amateur and important new book will be reviewed in professional recorder players world- a coming issue of AR.) This article is based wide, after more than 350 years . on a section from the author’s book. The How can one explain this popu- translated quotes in the article are from Johan larity? “Variety is the spice of life,” the Huizinga, Homo ludens . A Study of the Play proverb says .Varying something is Element in Culture (Boston: Beacon Press, 1970). simply fun .This kind of pleasure is basic human nature; its longevity and Wind has served as musicological advisor to Frans Brüggen and the Orchestra of its many forms prove its vitality . the 18th Century, and made performing editions of most Beethoven symphonies In improvised diminution, melodic for them. As an editor, Wind has prepared several music publications, including the only lines were treated to figuration, indicat- complete edition of Jacob van Eyck’s Der Fluyten Lust-hof and an anthology of all solo ing that variation is not necessarily a recorder pieces by Van Eyck’s colleagues, The Gods’ Recorder-Heaven (both for XYZ formal principle . It has merit in itself . Edition). Facsimile editions of Der Goden Fluit-hemel (1644) and Van Eyck’s “Variation is the joy of Nature,” wrote Euterpe oft Speel-goddinne (1644) were published by the Dutch Foundation for Johann Mattheson in the 18th century . Historical Performance Practice, STIMU. Further editions include recorder sonatas by Van Eyck employed a straightfor- Diogenio Bigaglia (Schott), Giovanni Paolo Cima and Francesco Geminiani ward brand of variation technique .The (Broekmans & Van Poppel). For the newest edition of the New Grove Dictionary of procedure was simply, and aptly, called Music and Musicians he covered several topics, including Jacob van Eyck. breken, or “breaking ”. The notes of a theme were replaced in the variations The author gives lectures, classes and workshops about Van Eyck. Past appearances by groups of shorter-valued notes— have been at the Akademie für Alte Musik, Bremen, Germany; the Royal Conservatory they were literally “broken up ”. This in The Hague; Mozarteum University, Salzburg, Austria; and for European Recorder was achieved by dividing the longer Teachers Association notes: a quarter note in the theme, for branches (UK and instance, could be replaced in the varia- The Netherlands). See tion by two eighth notes, by an eighth www.jacobvaneyck.info. note and two 16ths, or by four 16ths . As early as the 13th century, the Wind is music term fractio modi was used to indicate editor of the leading the division of the rhythmical modus Dutch newspaper into smaller note values .Van Eyck De Telegraaf and employed this principle, by and large, lives in Houten, according to its most elementary for- a village six miles mula: from one variation to the next in south of Utrecht. a set, the notes were “broken” into pro- gressively smaller parts, with a corre- 14 January 2012 American Recorder organization of society have impeded freely accepted but absolutely binding, Varying something is any visible expression of this factor. having its aim in itself and accompa- simply fun. This kind Society has become over-conscious of nied by a feeling of tension, joy and of pleasure is basic its interests and goals: it has, so to the consciousness that it is “different” human nature. speak, become too big for its boots. from “ordinary life.” … embracing It has pursued its earthly welfare everything we call “play” in animals, sponding increase in virtuosity .The as a scientific scheme. The ideals of children and grown-ups: games of simplicity of this type of variation is labor, child-rearing and democracy strength and skill, inventing games, in the concept itself, and decidedly left hardly any room for the age-old guessing games, games of chance, not in its execution . principle of play. exhibitions and performances of all A useful model for interpreting The times, they were a-changing . kinds. We ventured to call the cate- the art of variation on a fundamental In 1838 Robert Schumann said of the gory “play” one of the most funda- level is that of the homo ludens, “the variation: mental in life. playing human,” described by the The days when one would swoon Dutch cultural historian Johan over a sugary ornament, a languorous Variation: A Shared Huizinga in his 1938 book, Homo suspension, an E-flat run over the Game of Disguise Ludens: A Study of the Play Element in keyboard, are gone: one now yearns In the musical art of variation, the Culture . In Huizinga’s opinion, play is for ideas, inner cohesiveness, a poetic element of play manifests itself on not a consequence of culture, but rather whole, all bathed in fresh fantasy. different levels .The fundamental level is a fundamental element of it . The other flickers for a moment is the enjoyment found in varying the He supports this theory with and dies. theme .This can, strictly speaking, be the observation that play is also The fact that melodic figuration considered the solitary activity of a present in the animal kingdom and is survived so long in the variation genre composer or an improviser, but it therefore not a product of humankind, shows the extent to which musicians can be more than that . an achievement of human civiliza- took pleasure in ornamenting a theme . Few forms of musical expression tion . Play preceded culture . Huizinga From an intellectual standpoint, figura- presume the presence of an audience as describes the relationship between play tion can be defined as a weakness, but much as variation . Musical variation is and culture thus: “Culture is, in its ear- considered from the position of the an excellent example of the kind of liest phases, played . It does not come homo ludens, it is far from it . It offers, entertainment that invites the partici- from play like a babe detaching from in fact, a foundation . Again consulting pation of an audience . the womb: it arises in and as play, and Huizinga: Variation, one could say, falls never leaves it ”. As a civilization becomes more com- some­where between a solitary diver­- If we are to approach the art of plex, more variegated and more over- sion and a parlor game . It is perfectly variation from the point of view of the laden, and as the technique of produc- accept­able as a solitary endeavor, but “play element,” then the longevity of tion and social life itself become more it works best in a social context .The the genre is easy to explain . It is in fact finely organized, the old cultural soil audience is not an adversary or antago- a musical genre that epitomizes, more is gradually smothered under a rank nist, but rather an ally who empathizes than any other, “humans at play ”. It is layer of ideas, systems of thought and and shares the experience of enjoyment also important not to forget the kinship knowledge, doctrines, rules and regu- with the performer . between variation and improvisation, lations, moralities and conventions The use of popular melodies in the ultimate form of “play” in music . which have all lost touch with play. variations was thus a self-evident mat- Melodic figuration was, until well Civilization, we then say, has grown ter of, literally, playing to the grand- into the 19th century, a favorite tool of more serious; it assigns only a second- stand .Van Eyck’s variations were no salon variations . But the practice came ary place to playing. exception . Not only did this create a to an end in the same century, and In his analysis, Huizinga is quick common bond between the composer/ understandably so . As Huizinga wrote: to arrive at a concise, yet comprehen- performer and the audience, but it had In summary, one can witness a dra- sive, definition of the concept of “play ”. a practical purpose as well: there would matic recession of the element of play He characterizes it as: be little point to a variation set without in nearly all cultural manifestations … a voluntary activity or occupation the element of recall . A familiar theme during the nineteenth century. The executed within certain fixed limits made it easier for the listener to follow spiritual as well as the material of time and place, according to rules the variations upon it, and in turn facil- www.AmericanRecorder.org January 2012 15 itated the comprehension of the varia- The choice of a well-known mel- tion process itself . A familiar tune is altered, ody has yet another effect . It makes a Here we have one of the essential either in an ordered variation work widely accessible; it does concepts of the art of variation . A series or not. There not exclude anyone on the basis of famil­iar tune is altered, either in an background or social status . Anyone ordered series or not .There is a trans- is a transformation who is familiar with the tune can fol- formation from the familiar to the from the familiar to the low the variations . In this sense, Van unfamiliar . But, thanks to the recogniz- Eyck’s variation œuvre, just like the ability factor, the familiar is still identi- unfamiliar. But, thanks melodies on which it is based, can be fiable . to the recognizability regarded as part of what British histo- The necessity of this factor was rian Peter Burke (author of a number acknowledged in the 19th century by factor, the familiar is of books including Popular Culture in C . F . Michaelis (a talented musician, still identifiable. Early Modern Europe, 1978) described whose writings popularized Immanuel as “popular culture”: a culture for all Kant’s aesthetic theory and applied it described as one of the most crucial sections of society . to music) in his Katechismus der Musik characteristics of play: (1824): “Variations are new dressings The exceptional and special position And the Winner is …Van Eyck or decorations of some simple melody, of play is most tellingly illustrated by Song melodies circulated in myriad which as a theme can always be discov- the fact that it loves to surround itself guises and variants in Van Eyck’s day . ered in the variations and more or less with an air of secrecy.… The “differ- Nevertheless he did not meddle with sounds through them ”. entness” and secrecy of play are most popular tunes: once he had chosen a It is thus a game of disguise that vividly expressed in “dressing up.” version, he stuck to it religiously in his harbors a secret, which Huizinga Here the “extra-ordinary” nature variations, “according to rules freely of play reaches perfection.

“Silvester inde morgen-stond” (Sylvester in the morning time), from the songbook Friesche Lust- hof by Jan Starter. Comparison with the version from Van Eyck’s Der Fluyten Lust-hof reveals many small differences. Due to oral transmission, melodies usually circulated in many variants. For this reason, a composer of variations had to present the unadorned theme first: it was a true “modo 1”—the “first manner.”

16 January 2012 American Recorder accepted but absolutely binding,” light from the standpoint of as Huizinga says . form, but the excitement It gave both composer and audi- of the unexpected is by ence a solid foothold, and one might the same token a positive even go so far as to call it a moral duty . feature . In regard to Van Every structural deviation from the Eyck’s output, however, this familiar tune could sow confusion in is a moot point, because the listener, clouding his concentration progression in his composi- or losing him entirely . Huizinga writes: tions is, by and large, pre- … Play demands order absolute and dictable . supreme. The least deviation from it The variations are “spoils the game,” robs it of its charac- clearly inter-related and are ter and makes it worthless. The pro- not randomly interchange- found affinity between play and able .The fundamental pro- order is perhaps the reason why play cess of “breaking” ensures … seems to lie to such a large extent that, variation by variation, tant that the player should be able in the field of aesthetics.… The the note values become gradually to boast of his success to others. words we use to denote the elements smaller and the virtuosity intensifies . The performing artist who suc- of play belong for the most part to A crucial element of tension lies in ceeds in carrying off a difficult compo- aesthetics, terms with which we try that increasing virtuosity .The perform- sition is the “winner”: this is an unmis- to describe the effects of beauty: er’s nerves are put to the test as the takable aspect of Van Eyck’s art . tension, poise, balance, contrast, music becomes progressively more Although he was officially a carillon- variation, solution, resolution, etc. challenging .The execution intensifies, neur by profession, his tombstone Play casts a spell over us; it is as do—if an audience is present—the mentioned the recorder first (quoted on “enchanting,” “captivating.” It is expectations .The listener’s excitement a modern memorial stone, above). As a invested with the noblest qualities keeps pace with that of the performer, performing musician, he was able to we are capable of perceiving in because he empathizes with the player make the most favorable impression things: rhythm and harmony. and realizes that the more virtuosic the with the recorder, that superbly flexible Order is an obvious aspect of Van music, the greater the risks . and undeniably virtuosic instrument . Eyck’s œuvre . By “order” we mean not The listener’s own role becomes Significantly, three of Van Eyck’s only the coherent relationship between progressively more demanding as contemporaries paid tribute in print to the individual variations and the theme well—for, the more virtuosic the his virtuosity as a recorder player .The on which they are composed, but also a passagework, the faster the notes fly Utrecht poet Regnerus Opperveldt logical order of succession .This in turn by, and thus the more challenging it spoke of Van Eyck’s “agile mouth ”. raises the question: what produces the is to keep track of the theme and keep Thomas Asselijn praised his “measured tension or excitement? up with the composer’s discourse . finger-dancing ”. And Lodewijk Meijer, Van Eyck’s instrumental variations The element of success or failure is in his elegy at Van Eyck’s death, are sedate and harmonious . First and also a basic principle of play . Huizinga recalled “those hands, which with foremost they reflect a carefree aes- writes: skilled fingers, on carillon keys and thetic in which decoration rules: the “There is something at stake” — pipe, [could play] so swift and sure ”. themes are “artfully and charmingly the essence of play is contained in The basis of repetition on which embellished ”. The beauty is in the that phrase. But this “something” is a variation set is built can also be flaunting .The element of tension is, not the material result of the play, regarded as an element of play . Each however, by no means absent . In gen- not the mere fact that the ball is variation is, in a sense, a “new round” eral, the listener’s expectations are in the hole, but the ideal fact that of the game . Should the listener lose piqued at the be­gin­­ning of each varia- the game is a success or has been track of things in the middle of a tion .The listener hangs on tenter- suc­cessfully concluded.… The variation, he has the opportunity to hooks, wonder­ing which way it will go . pleasur­­able feeling of satisfaction jump back on the bus as soon as a The loose structure of many varia- mounts with the presence of specta- new variation begins . tion works, the absence of an organic tors, though these are not essential Huizinga describes repetition as inevitability, could be seen in a negative to it.... In all games it is very impor- a characteristic of play:

www.AmericanRecorder.org January 2012 17 Play begins, and then at a certain The themes of “Ballette Gravesand” and “Laura” (with the moment it is “over.” It plays itself beginning of modo 2), in original notation and modern nota- to an end. While it is in progress tion. The melodies are much the same, as are the variations that all is movement, change, alternation, Van Eyck composed on these pieces. However, the first melody is succession, association, separation. in D minor, whereas the second has the key of G minor. These But immediately connected with its differences affecting range, plus other slight melodic differences, limitation as to time there is a further allowed him to vary the melodies in slightly different ways— curious feature of play: it at once the element of play in his daily routine. assumes fixed form as a cultural phe- nomenon. Once played, it endures as a new-found creation of the mind, a treasure to be retained by the memory. It is transmitted, it becomes tradition. It can be repeated at any time, whether it be “child’s play” or a game of chess, or at fixed intervals like a mystery. In this faculty of repetition lies one of the most essential qualities of play. It holds good not only of play as a whole but also of its inner struc- ture. In nearly all the higher forms of play the elements of repetition and alternation (as in the refrain) are like the warp and woof of a fabric.

The Joy of Playing Van Eyck’s Der Fluyten Lust-hof The repetitive nature of play is evident in Van Eyck’s works . Some themes in Der Fluyten Lust-hof return for a sec- ond or even a third variation set .The variations on an identical tune are at times completely different, at other Ballette Gravesand  times similar or even identical . And                                             even those that seem indistinguishable             7 can differ in key, such as the first and 1. 2. 7    second “Rosemond,” or “Laura” and       1. 2.                                          “Ballette Gravesand” (see examples) .    13 1. 2. Van Eyck’s open-air recorder per- 13                         1. 2.                              formances in the Janskerkhof (see next            page) would have ingrained themselves as a “creation” or “treasure” in the mind of his audience .The publication of Der Laura Fluyten Lust-hof added to that one-off                   experience a further element of repeti-                                        tion, affording this same audience the 7 7 1. 2. opportunity to relive it at home .     1. 2.                                   Van Eyck appears to have been                13 1. 2. aware of the wishes of the consumer 13             1. 2. market when he wrote in the preface to                                          Euterpe that he had his music printed     18 January 2012 American Recorder with “the urging of various lovers of the ularly recurring relaxation, however, art of instrumental music” in mind . As Van Eyck not only it becomes the accompaniment, the Huizinga writes: “A play-community entertained the strolling complement, in fact an integral generally tends to become permanent public, he amused part of life in general. It adorns life, even after the game is over ”. himself as well. amplifies it and is to that extent a Van Eyck’s outdoor soirées were necessity both for the individual— pure diversion .The idyllic Janskerkhof must have been: why else would he as a life function—and for society was the perfect place for a carefree eve- have done this for years without pay, by reason of the meaning it contains, ning stroll, leaving the day’s worries outside his official duties as a carillon- its significance, its expressive value, behind, and his music contributed to neur? His recorder playing was a labor its spiritual and social associations, this atmosphere .The carefree delight of love, at first totally voluntary (until in short, as a culture function. The of his compositions is found not only in he began being paid in 1649) . Huizinga expression of it satisfies all kinds the diminution, but also in the blithe, calls that one of the characteristics of of communal ideals. untroubled melodies on which they are play in its purest form: The shared enjoyment of a musical based .“Entertain”—that was the word … It interpolates itself as a temporary experience is exemplified in this color- the canons of St . John used when they activity satisfying in itself and end- ful description of Jan Pieterszoon added playing the recorder to the blind ing there. Such at least is the way in Sweelinck’s variation skill, as recorded jonker’s job description in 1649 . which play presents itself to us in the by Willem Baudartius in 1625: The second series of variations on first instance: as an intermezzo, an I remember that, together with sev- “Lanterlu” clearly shows how skillfully interlude in our daily lives. As a reg- eral good friends, I called on my good Van Eyck could work an audience .The diminution process proceeds very grad- ually, stretching the work to seven modos .Twice (in modos 3 and 6), he elongates the closing note of a varia- tion, as though it were the last .Van Eyck the performer has his audience eating out of the palm of his hand: make them think you have reached the climax, and then go on . Van Eyck not only entertained the strolling public, he amused himself as well .The enjoyment was mutual . It

The Utrecht Janskerkhof (St. John’s churchyard) in 1604 (l), seen from the south. Seventeenth- century citizens would still recognize today’s churchyard by its shape, which has hardly changed— and, of course, by the present-day church itself. The bell tower was dismantled in 1681.

www.AmericanRecorder.org January 2012 19 friend master Jan Petersz. Swe[e]- …The need for it is only urgent to the player, did in practice: “first like this, linck with some other good friends, in extent that the enjoyment of it makes then like that ”. Regardless of whether the month of May, and he, having it a need. Play can be deferred or we define the variations as fixed com- begun to play upon the harpsichord, suspended at any time. It is never positions or frozen improvisation, the kept at it until around midnight, imposed by physical necessity or moral fact is that he mastered a technique playing songs such as Den luste- duty. It is never a task. It is done at that also belonged to the domain of licken Mey is nu in zijnen tijdt, leisure, during “free time.” Only improvised diminution technique . that he—if memory serves— when play is a recognized cultural Van Eyck played with the themes, proceeded to play in five and twenty function—a rite, a ceremony—is it and played for and with his audience . different ways, first like this, then bound up with notions of obligation Der Fluyten Lust-hof fundamentally like that. When we stood up to take and duty. reflects the activities of a “playing our leave, he beseeched us to listen to Der Fluyten Lust-hof is first and human,” and invites today’s musicians this piece, then to that piece, and could foremost a document of what Van to discover the homo ludens in the notes not stop, as he was in such pleasant Eyck, in all his freedom as a recorder and in themselves . humor, entertaining us, his friends, and also entertaining himself. Twenty-five variations on “Den lustelicken Mey,” played by an exuber- ant Sweelinck: what better example exists to illustrate the joy of variation? Baudartius completely ignores the issue of structure or form, referring to the variations as “first like this, then like that ”. Play as a voluntary activity: does that mean that Van Eyck’s public recorder performances fundamentally changed once he started getting paid to do them? That is improbable . In “De lustelycke Mey” (Delightful May) is a variation cycle that the first place, the condition in his can be linked directly to Van Eyck’s summer evening perfor- duties “sometimes during the evening” mances in the Janskerkhof. They started every year on May suggests a fair degree of discretionary Day Eve, so this piece is likely to have been created for opening freedom . night. At the annual festival, an order was given to guard the But aside from that, play can also trees in the yard, which proves that something special hap- be an obligation . Huizinga notes the pened, although we don’t know exactly what. The theme of nuance in the concept of freedom in “De lustelycke Mey” is the same tune on which Sweelinck regard to play: played variations for his friends.

Antoine Le Nain, The Village Piper There are not many paintings from Van Eyck’s time of recorder play- ers performing in front of an audience . One example is this work by the French artist Antoine Le Nain (1588-1648), known as The Village Piper (1642) .The original is in the Detroit Institute of Arts .This engraving after Le Nain’s painting dates from the 19th century .

This issue’s cover is one of a number of similar paintings by brothers Antoine, Mathieu (1607-1677) and Louis Le Nain (1593-1648), all French artists .The paintings are scattered in museums around the world, and sometimes can be attributed only to the Le Nain brothers, since the paintings are signed only “Le Nain” and were often collabo- rations . A number of these works include a person playing a recorder .

20 January 2012 American Recorder www.AmericanRecorder.org January 2012 21 ______On the Cutting Edge ______The Pleasures of Looking Backward (or not)

By Tim Broege, [email protected] wood film scores and television com- ears of listeners less enthusiastic than I mercials . am about contemporary music (partic- recent CD from the Atlanta However, closer listening has con- ularly of the European variety) . Symphony Orchestra and vinced me that the Gandolfi piece has In his program notes for the piece AChorus has set me thinking about real merit . Not only is it skillfully writ- Bell has written: the conservatism of so much contem- ten, but it also bursts with energy and My Baroque Concerto is modeled porary music being composed in the high spirits .This composer is having a on the form and instrumentation of U S. .The CD contains world premiere good time with his material, and he the concerto grosso of the early 18th recordings of Jennifer Higdon’s On a wants the listener to share in the fun . century ... The movements are in the Wire and Michael Gandolfi’s Q.E.D.: He seems to be channeling Ralph traditional order, fast-slow-fast. The Engaging Richard Feynman .The Hig­ Vaughan Williams in the first move- first movement opens slowly in the don features the fine contemporary ment, and stirs up a nice mixture of the manner of a French overture. It is music ensemble Eighth Black­bird best parts of John Adams along with followed by a moderately fast fugue. deployed as a concertino group, with Benjamin Britten and Aaron Copland The most unusual formal characteris- the orchestra mainly used as accompa- in the second . It works, and looking tic of the last movement, by Baroque niment . Gandolfi uses texts selected backward does not prevent the com- standards, is a recall of the slow sec- from the writings of renowned physi- poser from coming up with something ond movement towards the end of the cist Richard Feynman, imaginatively new and engaging . finale. On the whole, the Baroque set for chorus with a fully participatory This brings me to Baroque Con­ Concerto is a light-spirited work orchestra sharing the spotlight . certo for recorder, ’cello, harpsichord with quirkiness of character, and I didn’t care much for the Higdon, and strings by composer Larry Bell, wit and surprise. which seems to me a rehash of tired www.LarryBellmusic.com . Premiered in I agree with this description . tonal clichés from the worlds of movie January 2011 in Boston, MA, the piece However, the “quirkiness” is limited, music and minimalism .The writing was featured in a June concert at the and there is not much surprise . for Eighth Blackbird holds my interest 2011 Boston Early Music Festival This is the problem when it comes much of the time, but the orchestra (photo, below, by Charles Coldwell, show- to looking backward for one’s inspira- has little to do . ing Bell standing to the left of the soloists) . tion . I once heard the late George At first, my reaction to the Written for recorder virtuoso Aldo Perle, a distinguished American com- Gandolfi was less than enthusiastic . Abreu, ’cellist Sam Ou and harpsi- poser whose elegant (and non-tonal) “Here we go again,” I thought, as the chordist Paul Cienniwa, the piece looks music pleases me very much, say in an music conjured up big-budget Holly­ backward to the 18th-century concerto informal lecture that everything has grosso, utilizing the trio both with and in contrast to the string orchestra . It is a gentle piece, very tonal, and skillfully written in an archaic style that will no doubt fall gratefully on the

22 January 2012 American Recorder [“Inscrutability”] is the mysterious aspect of music, that which defies easy explanation or analysis. This is what separates the best music from language, and what makes music unique among the arts. already been written using tonality .The tonal composer is in effect condemned to recycling the past . Contemporary music in the U S. . seems mired in a tonal swamp . I believe it is very difficult to compose in the language of the past and still say some- thing fresh and effective . An important component of the music I listen to a lot these days is what I call “inscrutability ”. It is the mysteri- ous aspect of music, that which defies easy explanation or analysis .This is what separates the best music from language, and what makes music unique among the arts . I regret to say that I think Bell’s concerto fails the “inscrutability” test . It is too familiar in language, too pre- dictable in form, too conventional in the narrative . But the writing for the instruments is effective—although I would have enjoyed more prominent material for the recorder—and I believe the composer accomplished what he set out to do . For me this is not enough . SWEETHEART FLUTE CO.

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www.AmericanRecorder.org January 2012 23 American Recorder Society Publications Kudos to Abreu and his trio mates for helping to bring this piece to life . Musical Editions from the Members’ Library: Abreu has told me that the piece came 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 together easily, with just two orchestral Arioso and Jazzy Rondo (AB) Carolyn Peskin LeClercq’s Air (SATB) Richard E. Wood rehearsals conducted by the composer . Belmont Street Bergamasca (ATB) Sean Nolan Little Girl Skipping and Alouette et al Berceuse–Fantaisie (SATB) Jean Boivert (SATBcB) Timothy R. Walsh It’s always good to see composers and Bruckner’s Ave Maria (SSATTBB) Los Pastores (S/AAA/T + perc) performers working closely on a new Jennifer W. Lehmann, arr. Virginia N. Ebinger, arr. Canon for 4 Basses (BBBB) David P. Ruhl New Rounds on Old Rhymes (4 var.) composition . Dancers (AT) Richard Eastman Erich Katz Danse de Village (SAB) Kevin Holland Other Quips (ATBB) Stephan Chandler I am grateful that Abreu was able Different Quips (AATB) Stephan Chandler Poinciana Rag (SATB) Laurie G. Alberts to share a recording of his BEMF con- Elegy for Recorder Quartet (SATB) Santa Barbara Suite (SS/AA/T) Erich Katz Carolyn Peskin Sentimental Songs (SATB) David Goldstein, arr. cert (now posted at www.youtube.com/ Elizabethan Delights (SAA/TB) Serie for Two Alto Recorders (AA) user/americanrecordermag Jennifer W. Lehmann, arr. Frederic Palmer ) . It’s always Fallen Leaves Fugal Fantasy (SATB) Slow Dance with Doubles (2 x SATB) a pleasure to hear him play . Dominic Bohbot Colin Sterne Four Airs from “The Beggar’s Opera” (SATB) Sonata da Chiesa (SATB) Ann McKinley I suggest you listen to Baroque Kearney Smith, arr. S-O-S (SATB) Anthony St. Pierre Gloria in Excelsis (TTTB) Robert Cowper Three Bantam Ballads (TB) Ann McKinley Con­certo and consider its merits for He Talks, She Talks (AT) Bruce Perkins Three Cleveland Scenes (SAT) Carolyn Peskin yourself . Judging by much of the music Havana Rhubarb Rhumba (SATB up to Three in Five (AAB) Karl A. Stetson 7 players) Keith Terrett Tracings in the Snow in Central Park (SAT) published in AR, many recorder aficio- Idyll (ATB) Stan McDaniel Robert W. Butts Imitations (AA) Laurie G. Alberts Trios for Recorders (var.) nados may be more enthusiastic about In Memory of Andrew (ATB) David Goldstein George T. Bachmann the piece than I find I am . Meanwhile, In Memory of David Goldstein (SATB) Triptych (AAT/B) Peter A. Ramsey Will Ayton Two Bach Trios (SAB) William Long, arr. seek out some of the music of Salvatore Lay Your Shadow on the Sundials (TBgB) Two Brahms Lieder (SATB) Terry Winter Owens Thomas E. Van Dahm, arr. Sciarrino, Wolfgang Rihm and Helmut Leaves in the River (Autumn) (SATB) Variations on “Drmeš” (SATB) Martha Bishop Erik Pearson Vintage Burgundy (S/AS/ATT) Laschenmann—composers (one Jennifer W. Lehmann, arr. Italian, two German) who look ARS Information Booklets: forward more than back . ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 Non-members: 1 booklet-$18, 2 booklets-$33, 3-$44, 4,$55, 5-$66, 6-$76, 7-$86 *Free online to ARS members Adding Percussion to Medieval and Improve Your Consort Skills Susan Carduelis Renaissance Music Peggy Monroe Music for Mixed Ensembles *American Recorder Music Constance Primus Jennifer W. Lehmann Burgundian Court & Its Music *Playing Music for the Dance Louise Austin Judith Whaley, coord. *Recorder Care Scott Paterson

Education Publications Available Online and Free to Members The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). Lost in Time Press Guidebook to the ARS Personal Study Program (1996). ARS Music Lists. Graded list of solos, ensembles, and method books. New works and Videos Available Online to All arrangements Recorder Power! Educational video from the ARS and recorder virtuoso John Tyson. An exciting resource about teaching recorder to young students. for recorder ensemble Pete Rose Video. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recital. The video features Rose performing a variety of music and in an interview with ARS member professional John Tyson. Compositions by Other Publications Frances Blaker Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering Paul Ashford forming an ARS chapter. ARS members, $10; non-members, $20. One free copy sent to each ARS chapter with 10 members or more. Hendrik de Regt Consort Handbook. Available Online and Free to Members. and others Resource on consort topics such as group interaction, rehearsing, repertoire, performing. Shipping & Handling Fees: Under $10 - add $3; $10-19.99 - add $4; $20-29.99 - add $5; $30-39.99 - Inquiries: add $6; $40-49.99 - add $7. All prices are in U.S. dollars. For Canadian or foreign postage, pay by credit card and actual postage is charged. Please make checks payable to ARS. VISA/MC/AMEX/Disc also accepted. Corlu Collier PMB 309 See www.AmericanRecorder.org for complete publication offerings, for sale and free to members. 2226 N Coast Hwy Newport, Oregon 97365 ARS, 206A Crestwood Plaza, St. Louis, MO 63126 U.S. www.lostintimepress.com 866-773-1538 toll-free fax [email protected] [email protected]

24 January 2012 American Recorder www.AmericanRecorder.org January 2012 25 Compact Disc Reviews ______Mainstream Baroque and related works

Reviewed by Tom Bickley The humor of the title sonatas for organ alone, as well as ones of this disc requires that work well with four players: two Simple Pleasures, Hidden “solo” instruments, keyboard and bass Treasures: Boismortier understanding that instrument . Trio Sonatas. L’Ensemble a “trio” sonata can Lisette Kielson and Paul Portique (Lisette Kielson, consist of two lines of Boehnke play various Bach works, recorder; Garry Clarke, music and a bass line. adjusting instrument choices to high- violin; Craig Trompeter, light aspects of the music .The result is viola da gamba, cello; “Baroque ”. The melodies catch the ear; a collection of very pleasing interpreta- David Schrader, harpsi- the energy is strong with appealing tions of these works, as all are modified chord). Centaur CRC3121, affect in quick and slow movements . in significant ways from the original 1 CD, 2011, 55:00 . $16 (mp3 down- As Lisette Kielson (current ARS scores .The approach yields good load $9 99). . www.centaurrecords.com, President) points out in her notes, results, thanks to the performers’ www.lensembleportique.com Boismortier moves easily between the respect for the music . The music on this disc captures French and Italian styles of 18th-cen- I’d be remiss if I didn’t note that much of the appeal of the style we call tury music .The composer’s successful this tradition of “rearranging” music by marketing strategy of fitting these Bach dates back to J . S . himself and is works to a variety of melody instru- an ongoing enterprise in the world of ments explains the diversity of tessitu- historically-informed performance . ras . While these are “simple” pleasures on one level, they succeed due to a Francesco Barsanti broad approach by Bois­mortier in Recorder Sonatas . writing the music, and to L’Ensemble Ensemble Electra (Vicki Portique in genuinely playing with it . Boeckman, recorder; Jillon The recorder and violin sound Stoppels Dupree, harpsi- wonderful together, as does the sup­- chord; with Joanna Blendulf, port from the basso continuo .This ’cello). Ensemble Electra disc gives us the opportunity to hear 8450145196 . 2010, 1 CD, 59:30 . eloquent playing on soprano and alto $18 50. . www.vickiboeckman.com recorders as well as on the voice flute . The six sonatas for recorder by Francesco Barsanti are repertory J. S. Bach: Trios for Two. composed specifically for the recorder, L’Ensemble Portique (Lisette even as the transverse flute was becom- Kielson, recorder, flute; ing the popular flute of the day . In this Paul Boehnke, harpsichord, music, Barsanti, an Italian musician organ). Centaur CRC3069, 1 CD, in London, elegantly illustrates the 2010, 78:48 . $16 (mp3 download strengths of the Italian/English lineage $9 99). . www.centaurrecords.com, of recorder-writing in the 18th century . www.lensembleportique.com These are recorder solos with The humor of the title of this disc accompaniment .They stand in con- requires understanding that a “trio” trast to Handel’s Opus 1 sona­tas, sonata can consist of two lines of music which are more like duos for melody and a bass line .Thus, there are trio and bass .Tuneful melodies, virtuosic

26 January 2012 American Recorder passages, and ample opportunities for ornamentation characterize Barsanti’s work . Order your Boeckman and company play engagingly, maintaining an appropri- recorder discs ate balance between the nascent Roman­ticism and more restrained, formal elements in the music .The through the recording provides a good stereo image of the ensemble, with recorder ARS CD Club! pleasingly to the foreground, yet well- The ARS CD Club makes hard-to-find or limited release connected with the harpsichord and CDs by ARS members available to ARS members at ’cello . the special price listed. All CDs are $15 ARS members/ $17 Others unless marked otherwise. Two-CD sets are $24 ARS members/ Packaging for this CD is simple $28 Others. Add Shipping and Handling: $2 for one CD, $1 for each additional CD. and appealing, with concise notes, An updated list of all available CDs may be found at: www.americanrecorder.org. information about the instruments, a track listing and photographs . Featured from the reviews ____J. S. Bach: Trios for Two; L’Ensemble Portique: Lisette Kielson, recorder & flute Kaléidoscope Flûte Alors! . ____Simple Pleasures, Hidden Treasures: Boismortier Trio Sonatas, L’Ensemble (Jean-Michel Leduc, Marie- Portique: Lisette Kielson, recorder Laurence Primeau, Alexa ____Francesco Barsanti Recorder Sonatas for Recorder& Basso Continuo, Raine-Wright, Vincent Vicki Boeckman, recorder Lauzer, Caroline Tremblay, recorders). ____Kaléidoscope, Flûte Alors! Vincent Lauzer, Jean-Michel Leduc, Marie-Laurence Flûte Alors! 2011, Primeau, Alexa Raine-Wright, Caroline Tremblay 1 CD, 61:20 . Abt . $19 30. . www.flutealors.com/Flute_Alors%21/ OTHER CDS BY THESE ARTISTS Discographie.html, www.flutealors.com ____Telemann: Canons and Duos, L’Ensemble Portique Lisette Kielson, recorders; Patrick O’Malley, recorders. A double disc set of music for two Montréal recorder ensemble recorders, Canons mélodieux and Sonates sans basse, by Georg Philipp Telemann Flûte Alors! presents a disc of seven featuring Lisette Kielson and Patrick O’Malley. 2004 LEP Records works played deftly and attractively . ____Taste of Portique, L’Ensemble Portique The five musicians, all relatively early Liesette Kielson, recorders & flute; John Babbitt, double bass; Linda E. Jones, clarinet; Anna in their careers, are among the genera- Ruth Bermudez, cello; Pablo Mahave-Veglia, baroque cello; Karl Orvik, violin; May Phang, tion of McGill University students of piano; Duncan Pledger, viola da gamba; Nathan Wysock, guitar; Max H. Yount, harpsichord. A selection of early and contemporary chamber music that L’Ensemble Portique recorded Matthias Maute that is now establish- and performed in its inaugural 2002-2003 season. 2003 LEP Records ing a strong presence in the interna- tional recorder scene . ____A Duo: Recorder Duets From the Early and Late Baroque, Nauta and Boeckman Vicki Boeckman and Dorte Lester Nauta liberate themselves of the continuo players from Images in the design of the pack- Op. 4 to present some of their favorite duets. They play some early works by John Baldwine, aging suggest pieces of broken glass, Thomas Morley, Jan Pieterszoon Sweelinck, Gastoldi and van Eyck along with later with the fragments depicting the pat- Baroque duets by Telemann and Hotteterre le Romain. 2003 Classico terns of a kaleidoscope . Music on this disc will connect Please indicate above the CDs you wish to order, and print clearly the following: easily with most listeners . Works Name:______Daytime phone: (____) ______by Maute (Kaleidoskop) and David Address: ______City/State/Zip:______Désilets (À deux pas du sol) give _____ single CDs x $____ = $______2-CD sets x $____ = $______satisfying glimpses of new, readily Shipping/Handling: $2 for one CD, $1 for each additional CD $______accessible, compositions . Boismortier _____ Check enclosed for TOTAL $______and Bach fill out the disc with familiar _____ Please charge the above amount to my MasterCard, Visa or AmEx: # ______repertory . Exp. Date: ______Cardholder’s signature:______The ensemble sound is bright, not shying away from high registers, but demonstrating how well they Mail to: ARS, 206A Crestwood Plaza, Saint Louis, MO 63126-1703 U.S. Fax a credit card order to 866-773-1538 can be used .

www.AmericanRecorder.org January 2012 27 Chapters & Consorts ______Chapters suggest new music to play, ______give and sponsor concerts The Muskegon Recorder Players and St. Gregory’s Episcopal Church, in Norton Shores, MI, hosted Wayward Sisters and John Lenti on October 2 in a concert called “The Naughty List: Music by Brag­ garts, Hotheads, Curmudgeons, and Snobs,” featuring works of Purcell, Brade, Castaldi, Merula, Jocke, Vivaldi, Matteis and Castello. Pictured are Anne Timberlake, recorder; Beth Wenstrom, violin; John Lenti, theorbo; and Anna Steinhoff, ’cello. (Photo courtesy of Jocelyn Shaw)

Recorders Join Handbells Birmingham, AL, and is the only one found in his archive of handbell music By Carol Stanger, Darien, IL utilizing a recorder ensemble . Allured passed away in February 2011, leaving On Sunday, October 16, at Wesley his unpublished piece to Nelson . Methodist Church in Aurora, IL, Allured’s wife, Marjorie, was eight recorder players gathered from pleased to learn from Nelson that the three ARS chapters: West Suburban piece would be performed again and (Nancy Good, Kathy Hall-Babis, Ed looks forward to hearing the record- Green and Carol Stanger), Chicago ing that was made and to seeing the (Ann Greene) and Milwaukee (Mary photos . Ellen Close, Carol Goodfellow and Thanks go to Nancy Good, who Diane Kuntzelman) .They joined Bill entered the original manuscript into Nelson’s handbell choir and 13 guest excellent performance notation in players for an excellent performance Sibelius . Inquiries about Suite for of Suite for Recorder and Bells (Prelude, Recorder and Bells should be directed Grazioso and Scherzetto) by Donald to Bill Nelson at 630-896-0204, or at E. Allured, a prolific composer of Wesley United Methodist Church, handbell music .The suite incorpo- 14 N . May St ,. Aurora, IL 60506 .The rates 50 bells and AATB recorders piece currently cannot be performed (which were doubled) . by other groups, but acquisition of This piece was originally com- rights is under way, as other recorder posed for Phyllis Kirk, the Recorder and handbell choirs have shown inter- Consort, and the Ladies Bell Choir, est in performing the piece . Shades Valley Presbyterian Church,

28 January 2012 American Recorder South America), was a thriving amal- pieces . He made the unusual rhythms gam of Old World cultures combined and sounds characteristic of this music with the varied indigenous peoples of enjoyable for the 25 participants . the region .Throughout the 17th Comments included these Century, many great composers were insights: “He chose the music well: drawn to the New World and taught some easily within everyone’s range and the native people to play instruments some to grow on ”. . . “I was amazed and Zajac takes Philadelphia and dance . Spanish composers like even awed to find the fact that music Recorder Players on Gaspar Fernandes drew inspiration traveled to new lands with people and from the vast culture surrounding that it assimilated marvelously with the New World Tour them, and over time developed a uni- natives’ music .What a beautiful, peace- fying sound that defined the New ful and interesting evolution it is!” . . “ By Janice Arrowsmith, Philadelphia, PA World .The indigenous people of the CHAPTER NEWS Americas became wonderful purveyors Tom Zajac Chapter newsletter editors and publicity offi- led the October workshop of music, both in practice and instru- cers should send materials for publication to: [email protected], of the Philadelphia (PA) Recorder ment-making .This concert is an all- AR, Society 7770 South High St., Centennial, CO (PRS) at Cathedral Village instrumental homage to the music of 80122-3122. Also send short articles about Retirement Community . Because Zajac Spain that was brought from the Old specific activities that have increased chapter was in town to perform with Piffaro World, interspersed with music that membership or recognition, or just the enjoyment your members get out of being part in their first series concert, his PRS was developed in the New World ”. of your chapter. Digital photos should be at workshop theme, “Music in the New This description could also apply per- least 3”x4”x300dpi TIF or unedited JPG World,” echoed the concert’s theme, fectly to the workshop, which com- files. Digital videos for the AR YouTube channel are also accepted. Please send news, “Spanish Pipers in the New World ”. prised an abundant collection of New photos or video enquiries to the AR address About their concert, Piffaro wrote: World pieces with European, Indige­ above, and to the following: ARS Office, [email protected], “Nearly 200 years after its discovery nous and even African influences, 206A Crestwood Plaza, St. Louis, MO and conquest by the conquistadors, arranged in three to five parts, and also 63126; and to Bonnie Kelly, Chair, Chapters the New World (today’s Central and including three eight-part double-choir & Consorts, [email protected], 45 Shawsheen Rd. #16, Bedford, MA 01730.

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The Adirondack Baroque Consort presented an historically researched program of Medieval music on October 22 at the Cathedral of All Saints, Albany, NY. The ABC, as it is known, celebrates 50 years of making early music come alive in 2012. Seated (l to r): Tanya Hotalen, Laura Lane; back row, Allen Carpenter, James Oppenheimer, Thomas Hotalen and Joseph Loux, artistic director. (Photo courtesy of Joseph Loux)

www.AmericanRecorder.org January 2012 29 PLAYING FOR THE COMPOSER JEANNINE VANIER Vanier, born in 1929 in Laval-des-Rapides near Montréal, studied under distinguished Quebec composers . She became a professional church organist and taught playing-by-ear (audi- tion-musicale) at the University of Montréal from 1967 to 1983, after early studies and teaching at the city’s Louis-Braille Institute for the blind . She was blind from childhood . (No, she is not related to Canada’s former Governor General Georges Vanier ). After we played the Fantasia, bracketed by a Fanfare by another woman composer (Anne Eggleston, 1934-94) and the Prelude from Divertimento, Op.60, No. 3 by Max Baumann, Jeannine Vanier (l) listens to Mary McCutcheon also written in 1961, lively conversation ensued . (playing recorder, l) and Andrée Beaudry (r) as they She told us not to be afraid to play the piece with make improvisatory twitters around a tune played expression and said the alto line could have been by Timothy Walsh. (Photo by Maryse Papineau) played more loudly . She hadn’t heard the piece in years and remembered that her aim had been to write correctly . By Mary McCutcheon, Montréal, QC When composing, she had the sound of the piano in mind . She commented that she stopped because there got to Three Montréal (QC) recorder players visited the home be too many tunes in her head! Her works are not numerous of Jeannine Vanier in October and played a short concert but earned acclaim, especially Salve Regina for women’s choir for her, a cousin and a few neighbors .The musical center- (recorded on a 33-1/3 rpm disc of Canadian music, RCI206) piece was her Fantasia (SAT, 2'20", first published by BMI and Five Pieces for Children (Waterloo B000595wJ0) that Canada, Ltd ,. later as Berandol DER1045) .The work won won a competition for children’s piano music . a 1961 Recorder Music Contest of CAMMAC (Canadian One of our players, Timothy Walsh, writes and arranges Amateur Musicians–Musiciens amateurs du Canada) . music that can be sampled in ARS Members’ Library No. 29 . This visit came about because “Trillium” (Judith We played three of his one-page children’s pieces to end our Seubert, Jeanne Lynch and Susan Campbell) in Portland, program . OR, liked the trio very much and asked this writer for infor- After tea and cookies, this writer handed out Montréal mation about the composer . After some digging, I indeed Recorder Society flyers to the visitors, and Vanier offered to found her; she, in turn, was pleased to learn of this interna- play her Five Pieces … on the piano .Walsh listened intently tional interest in Fantaisie pour flutes à bec—her only work for and proposed to set the pieces, which are progressively more recorders . It was written when she attended the CAMMAC difficult, for recorder duo, trio and quartet respectively .We summer center, a hotbed of amateur music-making directed look forward to making possible this second recorder work by recorder teacher-player Mario Duschenes, among others . from this memorable musician, and to playing again for her .

Last August, during a family reunion, a three-generation sextet gathered to play. Four of the participants had been introduced to the recorder by Bill Rees: a niece, a nephew, a grand-nephew and Bill’s wife Eileen; all continue to play. (l to r): Eileen Rees, Bella Vista, AR; Jacqui Baron, Slidell, LA; Bill Rees, Bella Vista; Soyeon Choi & Nathan Knispel, Philadelphia, PA; Brian Erle, Las Vegas, NV. (Photo courtesy of Eileen and Bill Rees)

30 January 2012 American Recorder E-mail reports on, or photos or videos of, events held for the 10th anniversary of 9/11 to [email protected]. Milwaukee-area (WI) Ensemble Musical Offering, directed by Joan Parsley, performed J. S. Bach’s cantata Gottes Zeit ist die allerbeste Zeit (Actus Tragicus) in observance of the 9/11 10th anni- versary. The two recorder parts, which are mostly in unison,were played by Louise Austin and Patrick O’Malley. (Photo by Sy Kreilein)

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www.AmericanRecorder.org January 2012 31 Music Reviews ______Sonatapalooza, with some sonatinas, ______plus other forms and etudes mixed in

Trumpet Sonata Z.850, measures . With the difficulty of getting collections of etudes for the recorder by Henry Purcell, arr. two sopranos to play in tune in the over the years, and the two volumes R. D. Tennent. Avondale Press upper octave, it would be better to have here are among the most recent . AvP142 (Magnamusic), 2009 . just one instrument play that section— Abreu’s etudes are at once chal- SSATB . Sc 7 pp, pts 2 pp ea . $15 50. . or to have them alternate measures . lenging, but also imaginative, as well as This popular three-movement Finally, the top soprano’s last note carefully judged to be as accessible as sonata, as composed by Henry Purcell would be better played up an octave to possible and consistent with the high c 1694,. contrasts the brilliance of a a high C (if possible), with the second standard of playing they encourage . piccolo trumpet with a smooth string soprano playing middle C rather than Part I of the Articulation Etudes, accompaniment .This arrangement low C .Thus the movement would fin- published in 2002 (reviewed in the replaces the trumpet part with soprano ish with a more dramatic final chord . May 2003 AR), served to introduce recorder, and the string parts are car- Generally, this is an effective various articulation colors and to ried by SATB quartet .The trumpet arrangement that players could make encourage evenness and control .The line would be most effective with a more interesting with minor altera- 12 etudes in Part II combine the artic- louder, distinctive soprano recorder tions .The printing is high-quality .The ulations in many different combina- that would stand out from the rest notes are unfortunately much smaller tions—some rather unusual, but all of the ensemble . All of the parts are than desirable . With plenty of white the more challenging and thought- intermediate level and equally active . space on each page, there is no reason provoking for that .There is a gradual The first movement, Allegro, not to enlarge the music . increase and decrease in speed through starts with the solo soprano line estab- Bruce Calvin started playing the course of each etude, emphasizing lishing the theme, then the remaining recorder in college some unspecified years control of the patterns and at the parts responding . A call-and-response ago, and has reviewed videos and books same time making the studies more pattern continues through the section . for professional library publications over approachable . While written in this arrangement the years. He and four others meet weekly While the etudes are designed for five instruments, the Adagio was in the Wash­ington, D.C., area to play more as exercises than works of art, originally played by the strings with recorders. The group enjoys Renaissance Abreu cites John Baldwine’s rhythmi- the trumpet tacit . In this version of the through con­temporary music, performing cally sophisticated music of the 1590s Adagio, the top string line is divided occasionally for special church events. as an influence, and he uses a portion between the two sopranos—which is of Henry Purcell’s Three Parts Upon a unnecessary for such a short move- ARTICULATION ETUDES - Ground as the basis for Etude No . 32 . ment and ineffective if the instrument PART II FOR THE RECORDER, The 4 Vibrato Exercises and playing the solo line sounded louder by Aldo Abreu. 2009 . A . 4 Sound Control and Silent Breathing and more aggressive than the instru- 25 pp . $15 . Etudes are somewhat more traditional ment used for the second soprano part . 4 VIBRATO EXERCISES AND 4 in character but, like the articulation The Presto movement starts SOUND CONTROL AND SILENT etudes, they are presented with great with each of the quartet instruments BREATHING ETUDES FOR THE care so as to be as effective as possible . entering a few measures apart, playing ALTO RECORDER, by Aldo The Vibrato Exercises work the the theme .The solo line restates the Abreu. 2007 . A . 35 pp . $15 . vibrato up from a quarter-note pacing theme, followed by call-and-response Both self-publ . (www.vonhuene.com) . to quintuplet 16ths, all at =60 . q between the solo and the quartet, and Aldo Abreu is a distinguished per- Students are advised to use a tuner, continues that interplay to the move- former and teacher who concertizes so as to be able to measure and com- ment’s end . widely and teaches in Boston, MA, at pare the width of the vibrato . A problem occurs when both the New England Conservatory . He The Breathing Etudes are based sopranos play in unison for over 11 has issued a series of self-published on scale figures, again at =60, the first q 32 January 2012 American Recorder to the music of the high Baroque, his 25 years, and has just opened his own Abreu’s etudes are melodies come in short phrases and studio after over 30 years at the Royal are less dependent on the working out Conservatory of Music of Toronto. at once challenging, of long sequences . Harmonies change less frequently, but there is an abun- DIVERSIONS ON AN AIR BY but also imaginative. dance of graceful rhythmic activity . THOMAS CAMPION, by Elliot The two sonatas and the con- Weisgarber. Canadian Music featuring 16ths interspersed with long- certo presented in these editions come Centre (www.musiccentre.ca), 2007 . note passages, and the rest longer and from a manuscript at the University of A, hc, ’cello/b viol . Sc 8 pp, 2 pts longer strings of quarter notes with less North Carolina at Chapel Hill . In line 2 pp ea . $19 . and less time to breathe between them . with Vinci’s innovative character, all Diversions is part of a large body Students are advised to breathe as qui- three pieces have unexpected features: of unpublished work available through etly as possible and to focus on tone the A minor sonata is in five move- the Canadian Music Centre . It is dis- quality and intonation throughout . ments (slow-fast-slow-fast with an tributed on a print-on-demand basis, In each volume, Abreu gives help- added Minuet); the C minor sonata by mail order or online . ful directions for the performance of has an abundance of dramatic fermatas Born in 1919 in Pittsfield, MA, the individual etudes . As a bonus, each and is in something of an unusual key Elliot Weisgarber received both Bach­ volume closes with the same very (moving to F minor in the third move- elor’s and Master’s degrees from East­ extensive chart giving both standard ment); and the string accompaniment man School of Music in Rochester, fingerings and trill fingerings for the for the concerto consists of two violins NY . He studied composition with alto .The chart includes three notes playing in unison throughout . Edward Royce, Bernard Rogers, below and nine notes above the Each piece, including the concerto, Howard Hanson, Halsey Stevens and normal range of the instrument as would be approachable by an upper Nadia Boulanger . After teaching at the well as enharmonically distinct finger- intermediate player . A good rhythmic University of North Carolina, in 1960 ings (e.g., F# vs . Gb) and as many as sense is needed (and a willingness to he joined the faculty of the newly- 10 different fingerings for some notes . plunge into the flats of the C minor formed music department (now school The recorder does not have the sonata), but Vinci’s style generally of music) at the University of British vast repertoire of etudes enjoyed by avoids virtuosic passagework, and Columbia in Vancouver . He made a many other instruments, but exercises his true métier as an opera composer special study of Japanese music, espe- such as these, prepared by a master per- comes through in a consistent singing cially the shakuhachi; this was an influ- former with the needs of the student quality, even in the faster movements . ence on some of his compositions . foremost in mind, are worth volumes The music is available as a down- Weisgarber died in Vancouver in 2001 . of less-well-considered note-spinning . load, so the layout is spacious .There Diversions is composed in five sec- are some minor discrepancies between tions that flow seamlessly together .The SONATA IN A MINOR. score and parts, such as a missing trill piece starts with the Air presented in A, bc . Sc 13 pp, pts 6 pp ea . in the recorder part in the third move- slow half notes ( =c 63). while the key- SONATA IN C MINOR . ment of the A minor sonata, but noth- board part providesq moving contrast A, bc . Sc 9 pp, pts 5 pp ea . ing that cannot be fixed easily . Bernard with runs and turns . CONCERTO IN A MINOR. Gordillo’s continuo realizations are In the second section, and those A, 2 vlns, bc . Sc 14 pp, pts 5 pp ea . straightforward and especially helpful, following, we find freely-conceived All by Leonardo Vinci, since the bass is generally unfigured . melodic patterns, inspired by the origi- ed. David Lasocki. Instant Although rather unassuming, nal Air, for both the recorder and the Harmony (www.instantharmony.net), these pieces are a welcome addition keyboard .These are not divisions in 2011 . $10 ea or $25 for all three . to the repertoire, especially since they the usual sense .The second section Eminent musicologist and editor were originally written for recorder . moves slightly faster, while the third David Lasocki has made available three Players at all levels will enjoy exploring is slower . works for recorder by Leonardo Vinci the somewhat unusual style of this The fourth section is much slower (1696?-1730) . Vinci’s music is not well-crafted music . (molto meno mosso–comodo) but with often heard today, but, as Lasocki Scott Paterson, a former ARS Board turn-like sextuplet patterns on the points out in his informative preface, member, teaches recorder and Baroque quarter note for both recorder and key- the composer was one of the first to flute in the Toronto (ON) area, where he board .This section is the critical part bring together the elements of the is a freelance performer. He has written of the piece; playing the sextuplets with light, pleasing Galant style . In contrast on music for various publications for over apparent ease, smoothly and rapidly, is www.AmericanRecorder.org January 2012 33 SONATINA, by Bernard W. absolutely necessary . It is this section Nos. 4, 5 and 7 ... are that indicates the piece is intended for Sanders . Moeck ZfS809/810 an advanced recorderist—and a top- generally homophonic (Magnamusic), 2006 . A, pf . notch keyboard player, as well . and more accessible. Sc 13 pp, pt 4 pp . $10 50. . In the final section, the original Bernard W . Sanders is full-time tempo returns .The Air reappears in Rhythmic variety increases in No . music director of the parishes of the keyboard part, as the recorder pro- 2, a trio, while No . 3, a duet, features St . Gallius and Mary Queen for the vides embellishments, often synco- a challenging series of 5-, 6-, 7- and Tutt­lingen area in Baden–Wurtemberg, pated .Then follows a da capo to the 9-tuplets . (It will help to have a non- Germany, a position he has held since first section, which should be orna- playing member of the consort count 1994 . Born in 1957, he has a Bachelor mented according to the performer’s during the read-through of this piece ). of Music degree from St . Norbert taste—a very satisfying conclusion to No . 6, another duet, is similarly College, DePere, WI, and a Master of a charming and interesting piece . challenging . Nos . 4, 5 and 7 (quartet, Music degree in organ performance The following performance sug- trio and quartet) are generally homo- from Wichita State Univer­sity (KS), as gestions are offered: Piano may be sub- phonic and more accessible . well as postgraduate study in Germany . stituted for harpsichord . If a ’cello is not The last piece in the set is based He has composed sacred and secu- used, the keyboardist may wish to add on the English folk song, “I Will Give lar works for a wide variety of media— some notes from the ’cello part . Note my Love an Apple,” and opens with from solo instruments to full orchestral that the ’cello line is an independent alto I playing the 16-measure melody, compositions, and from solo voice to part, not a Baroque-style continuo line . with supporting harmony from tenor large choir . His organ and chamber The layout of the printed pages is and bass .Then the soprano offers the music is recorded on at least five CDs . excellent in the parts .The score may be theme, with alto II following a measure The Sonatina is a charming, but confusing at first, as the harpsichord later .The original melody becomes challenging, piece in three movements . part is on the middle two staves of a increasingly fragmented and varied, The first movement, marked beseelt four-staff system, with all notes the disappearing in the interplay of various (animated), begins with a pastoral same size . new short themes . Eventually, parts of theme in 6/8 time .This soon yields the melody reappear, presented by each to a livelier passage, which freely shifts EIGHT PIECES FOR RECORD- of the voices on the way to the grand among 5/8, 3/8 and 4/8 before return- ERS (1962), by Elliot Weis­ climax of the piece . ing to the original theme in a new key . garber. Canadian Music Centre The layout of the printed pages is After another passage in 5/8 and 3/8, (www.musiccentre.ca), 2007 . SA to excellent, and the scores have no page the theme returns in its original key . SAATB . Sc 16 pp, 5 pts 3-10 pp ea . turns during a piece . Moreover, for the The second movement, marked Abt . $50 . duets (which present the most rhyth- friedlich (peacefully), also uses theme- Eight Pieces for Recorders is another mic challenges), the individual parts variation-theme structure to provide a work in the large body of unpublished give both voices in score format .The sense of unity . In the middle of this work available through the Canadian only errors noted were two missing movement, the piano has a nine-mea- Music Centre (CMC), for purchase time signatures in No . 6: C at m . 17, sure solo that provides variety of tex- on a print-on-demand basis, by mail and 3/4 at m . 25 . ture . Ample cues are provided to guide order or online . The appeal of these eight pieces the recorder’s re-entrance .The original The eight pieces in this collection may be limited by the difficulty of the theme returns at the movement’s end . were not composed in the order given, duets and trios, and also by cost . How­ The real technical challenges of and do not necessarily appear to be ever, there is another option .The score the piece are in the third movement, intended for performance as a unit, only can be bought for about $11 + marked freudig (happily) . A sprightly although that is possible .The first postage . For works with five or fewer theme is followed by a near-imitation and last are the only two composed performers, CMC will loan out the starting a step higher, leading to a can- for full SAATB, and are arguably the parts for two months (three months tabile passage . A variant of the original most accessible . Overall, this set will outside North America) at no cost theme introduces a three-note pattern be of interest to more advanced players . other than return postage . See the that appears first as eighth notes, then No . 1 has a gentle dreamy feel, CMC web site for full details . Select as triplets (on the quarter), and finally with parts moving independently by “Find Music,” search for the piece, click as a series of finger-tangling 16ths . For quarter and half notes in 3/2 time . on “Add Item,” select the “Request the truly virtuosic player, the two diffi- From time to time, patterns coincide List” tab and click on “Borrowing, cult measures might yield themselves to produce strange, haunting tonalities . Rental or Sales Info ”. to much practice; for mere mortals, this 34 January 2012 American Recorder The alto recorder These are pleasant pieces and parts in both sonatas could be a good addition to a teacher’s are difficult .The con- and/or performer’s library . tinuo parts are nicely Valerie E. Hess, M.M. in Church short section is a barrier to performing realized; since there are Music/Organ from Valparaiso Univer- what is otherwise a charming piece . If no separate parts for a ’cello or other sity, is Coordinator of Music Ministries it is permitted to offer an alternative, bass instrument, I assume these two at Trinity Lutheran Church, Boulder, the passage above provides a possible sonatas are to be played with an alto CO, where she directs the Trinity Con- ossia to measures 37 and 38 that retains recorder and piano, although it would sort. She has also published two books the spirit of the original without the be fairly easy to have a ’cellist play the on the Spiritual Disciplines. difficulties . bottom line of the keyboard part . The layout of the piece is excel­- SONATINA FOR DESCANT lent, with one easy page turn for the 12 SONATAS FOR TREBLE RECORDER AND PIANO, by recorder .The phrasing is well-marked RECORDER AND CONTINUO John Hardy. Orpheus OMP153 and the intention is clear .This is cer- FROM THE PARMA MS. (www.orpheusmusic.com.au), 2006 . tainly a worthwhile addition to the SANV. D. 145, by Robert S, pf . Sc 7 pp, pt 4 pp . Publ . library of the advanced player . Valentine, ed. Nicola Sansone. abt . $16 22,. PDF abt . $13 . David W. Fischer is a member and UT Orpheus Edizioni Urtext FL13 SONATA FOR TREBLE past president of the Kalamazoo ARS (www.utorpheus.com), 2011 . A, bc . RECORDER AND PIANO, by chapter, and director of their annual fall Sc 38 pp, 2 pts 23 pp ea . Abt . $36 50. . John Hardy. Orpheus OMP154 recorder workshop. He has studied with First of all, I must warn you that (www.orpheusmusic.com.au), 2006 . Judy Whaley and holds the ARS Level III not only is this volume for more A, pf . Sc 20 pp, pt 12 pp . Publ . proficiency certificate. He is a member of advanced recorder players (uncommon abt . $22 31,. PDF abt . $17 88. . the Troubadours ensemble. keys at times, as well as technical facil- In these two pieces, Australian ity), it is also for advanced continuo composer John Hardy (b . 1963) has SONATA IN G MAJOR, by players, as the figured bass is not real- restricted himself to the whole-tone Giuseppe Sammartini, ed. ized . (There is a separate part for the scale for both melodic and harmonic Andrew Robinson. Peacock Press ’cello in addition to the recorder part ). material—and, in so doing, has perhaps PAR0202 (Magnamusic), 2006 . Therefore, this could be a good teach- risked setting the listener adrift in a A, kbd . Sc 9 pp, pt 7 pp . $15 . ing volume for practice in figured bass musical sphere void of the harmonic SONATA IN B-FLAT MAJOR, realizations, as much as in challenging tensions and landmarks to which tonal by Giuseppe Sammartini, ed. a recorder student . music has accustomed us . His idiom Andrew Robinson. Peacock Press This music comes from the might be considered a form of scalar PAR0203 (Magnamusic), 2006 . private collection of Paolo Antonio and harmonic minimalism . A, kbd . Sc 11 pp, pt 7 pp . $15 . Parensi (1688-1749), son of a wealthy In remarks accompanying the Giuseppe Sammartini was famous family in Lucca, Italy . Of the five Sonatina, the composer in fact states as an oboe player but is best known volumes from Parensi’s collection, that this soundscape is evocative of the today for his Concerto in F for soprano two contain compositions by an Australian desert, “which … seems recorder .“He also wrote thirty or so English musician, Robert Valentine stark and inhospitable at first, but sonatas for alto recorder, which survive (1671/1674-1747), who lived and soon reveals its own special set of mys- in two Italian manuscripts that were worked in Rome from before 1701 teries … ”. In his Twentieth-Century presumably written before Sammartini until his death . It seems that Valentine Harmony (1960), Vincent Persichetti came to London in about 1728” (from wrote these pieces for Parensi . cautions that “The true value of the editor Andrew Robinson’s introduc- There is an index in the original whole-tone scale lies in the contrast it tion) . In these editions, the keyboard manuscript, which lists not only the provides when it is used in combina- parts have been realized, although sonatas themselves but also the single tion with other scales and techniques ”. Robinson believes it is possible that dance movements grouped together by The two versions of the whole- the bass could have been intended for type, an indication that this may have tone scale are c-d-e-f#-g#-a#-c, and ’cello alone . Robinson also includes a been written for teaching purposes . c#-d#-f-g-a-b-c#. Because the scales long list of editorial notes for various The style of these sonatas shows influ- are symmetrical, the listener has no measures, documenting things he has ence from Vivaldi’s works, whose style sense of tonic, and, without recurring edited throughout the pieces . was very popular in Rome about 1730 . rhythms, metric shifts and well-defined form, is liable to feel disoriented and www.AmericanRecorder.org January 2012 35 SONATA G-MOLL, by Johann This soundscape is evocative since it eliminates difficult page turns . The score’s narrow margins, and a staff Friedrich Fasch, arr. Ulrich of the Australian desert. width of only six millimeters, produces Herrmann . Noetzel Edition N3921 an overall cramped appearance . (www.edition-peters.com), 2009 . ultimately bored . Hardy opposes the By contrast, the recorder parts AATB . Sc 12 pp, pts 4-6 pp ea . $21 . two scales from movement to move- are easily-read, and page turns can be Johann Friedrich Fasch (1688- ment, but never within a movement . effected at leisure .The hard copy is 1758) is not mentioned once in my With respect to holding our attention, simply staple-bound and will likely copy of Donald Grout’s widely-used he goes out on a limb, to some degree . fall apart quickly . textbook, History of Western Music Hardy relies heavily on motivic At the time of writing, the (third ed ),. and mentioned only three economy, contrast, and formal re-itera- Sonatina is incorrectly listed as “Sonata” brief times in Music in the Baroque Era tion . Motivic interplay between the on the web site .The composer’s biog- by Manfred R . Bukofzer . In fact, none instruments abounds . Driving syncopa- raphy, as well as program notes sup- of the music history books in my rather tions and off-beat accompaniment pat- porting the exclusive use of the whole- large collection has a word to say about terns engage the listener viscerally in tone scale, appear at the end of the Fasch’s compositional style . Yet, our the quick movements . Hardy avoids Sonatina score, but not in the Sonata . Baroque group is quite taken with chordal accompaniment; chords These pieces are not liable to win Fasch’s chamber music; we offered his derived from the whole-tone scale are over players or audiences immediately . Sonata B-Dur on our concert series . inherently augmented in structure . This is true particularly of the four- The German composer was edu- Without contrast to chords of movement Sonata; at over 15' in dura- cated at the Thomasschule and the other quality, tedium can take hold . tion, it could produce a severe whole- university in Leipzig . In 1708 he began The preponderant texture of the piano tone allergic reaction .The Sonatina a collegium there that competed with is two-part, and where the texture comes to about half the Sonata’s dura- Telemann’s (formed six years prior) . thickens, the recorder is well up in the tion . At roughly 2', the Sonatina’s slow In 1722, he was appointed court range where it can hold its own .The movement is terse, yet appealingly lyri- Kapellmeister at Zerbst . Fasch com- composer could have offered more cal . Its merits might have been set in posed at least 14 masses, 9-12 cantata contrast in texture by thickening in greater relief, had the surrounding cycles (articles in the Oxford Music passages where the recorder is tacit . movements not also been whole-tone . Dictionary disagree on how many), The publisher’s web site rates both Once technical obstacles are sur- a Passio Jesu Christi, and four operas . works as moderately challenging—way mounted, these pieces may begin to Instrumental compositions include off the mark with respect to the Sonata, ingratiate themselves to players . 19 symphonies, 64 concertos, 18 trio which is very demanding of soloist and Audiences may require a few hearings sonatas, and 12 four-part sonatas . accompanist alike . Highly disjunct before the music begins to deliver . Most of his choral music has melodic writing is the chief complica- Those who find appeal in been lost, but many of his instrumen- tion . Both the Sonata and Sonatina these pieces may also enjoy Claude tal works are extant, and demonstrate exceed the conventional recorder com- Debussy’s “Voiles” in his First Book of transitional style changes between the pass, and a number of slurred notes are Preludes (~4') which, although predom- high Baroque and the Classical styles unfeasible . Alternative fingerings are inantly whole-tone, does contain traces of Haydn and Mozart . Fasch is also frequently warranted in brisk passages . of pentatonicism and chromaticism . unique in that he had no formal By convention, an accidental is Anthony St. Pierre, of Toronto, ON, instruction in composition . not given next to a note that has been has composed extensively for recorders. His Regardless, he became renowned so inflected previously in a given bar . Folia à 4, third prize in the 2007 Chicago as a composer; Duke Moritz Wilhelm How­ever, this practice does not lend Chapter’s composition competi­tion, may be of Saxe–Zeitz commissioned him to itself to non-diatonic music . For ease heard at: www.folias.nl. Several of his compose operas for the Naumburg of assimilation, the publisher could recorder compositions are available for free Peter–Paul festivals in 1711 and 1712 . have applied accidentals throughout . at http://pages.ca.inter.net/~abelc/ In spite of this, none of Fasch’s music Orpheus Music has a catalog of compositions.html. He holds a B.Mus. was published during his lifetime, and over 200 pieces, the majority of which in composition from Ohio State Univer­ he was neglected by music historians . are contemporary . Both of the works sity and M.Mus. in his­tor­ical per­formance Around the year 1900, the under discussion are available in PDF practices from Wash­ington Uni­ver­sity. In German musicologist Hugo Riemann format from the publisher’s web site . the 1980s, he played oboe with Tafelmusik (1849–1919) recognized Fasch as one From the pianist’s point of view, Baroque Orchestra and with the Studio de of the most important innovators in an unbound format is more practical, musique ancienne de Montréal. the transitional period between Bach 36 January 2012 American Recorder and Haydn, one who “set instrumental trapuntal/fugal fusion with his Clas­ and omits all of the six-beat measures, music entirely on its feet and displaced sical side . A main theme alternates laying the movement out in straight fugal writing with modern ‘thematic’ with secondary thematic material . In 4/4 time . style” (Oxford Online Music Dictionary) . this main theme, the top two parts are There are numerous instances of The first movement of this lovely in canon at the unison separated by octave changes that inevitably result sonata is a G-minor Largo that moves only one beat; they play in the same from arranging music for instruments to D minor, leaving you hanging on a octave and thus cross each other fre- with a smaller range .There are also Phrygian half-cadence (IV6-V) .The quently .The tenor line plays some of short sections that were originally in texture is contrapuntal from the first this melodic figuration, but the bass the third voice (viola) that have been measure .There are passages of parallel line is again very functional and stays moved to the bass recorder . In some thirds and sixths between the two alto out of the melody .This main theme cases, lines moving between octaves parts, which play in the same range, travels around key-wise: G minor to have been simplified as repeated and cross freely and frequently . Bb major to Eb major, back to Bb major, notes—again, to solve range problems . The second movement, Allegro, with a final return to G minor . A plethora of interpretive signs in the is still in G minor . It demonstrates The perky, syncopated secondary Riemann edition (crescendos, decre- Fasch’s conservative Baroque side: the theme starts with four measures of a scendos, ritards, a tempos) have been movement presents fugal techniques in descending-fifth sequence, and then totally eliminated from this edition . the top three voices, but is not a strict moves right into an ascending Finally, I hope the above does not fugue (three of four voices begin the sequence . After a transition over a imply that the bass line is in any way movement together rather than enter- five-measure pedal point, yet another unrewarding for a recorder player . ing separately with the fugue subject, sequence of downward triads leads While the bass line does tend not to and only three voices participate in the back to the main theme in a new key . participate in the melodic lines, it is lively subject against a more Classical That is a lot of sequential activity, yet very active . bass line) .There are episodic sections the sequences do not sound overdone . This piece will require advanced where the two alto players get a bit of This movement has leanings intermediate players at the very mini- a workout, playing 16th-note passages towards rondo form, or, with the key mum, due to the above-mentioned dif- that are more idiomatic for strings and changes, sonata-rondo form, another ficult passages in the second movement are challenging on recorders . instance of Fasch’s Classical tendencies . and some intricate 16th-note passages A gorgeous Largo, the third In any case, there is a duality of the- in the fourth movement . But it is a movement travels from Bb major to F matic material combined with key great piece for ambitious players— major and back .The upper three voices changes that certainly support Fasch’s and highly recommended! play a lovely trio using dotted rhythms importance as a transitional composer . and stepwise melodies running in par- This is a great piece in its original SONATA SETTIMA à 4, by allel thirds and sixths .The bass consists instrumentation for two violins, viola Johann Rosenmüller, arr. primarily of quarter notes to support and continuo, and the version for Klaus-Jürgen Gundlach . and set off the dotted rhythms . recorders is very successful .The origi- Moeck 1145 (Magnamusic), 2009 . The fourth movement, Allegro, nal, in D minor, is trans­posed up a AATB, bc . Sc 20 pp, rec pts 3 pp ea, returns to the home key of G minor . fourth to G minor . A measure-by- bc 2 pp . $39 95. . This movement, like the second move- measure comparison to the Breitkopf Johann Rosenmüller (1619–84) ment, shows Fasch’s conservative con- & Härtel version edited by Hugo was a German Baroque composer, Riemann (available at IMSLP.org) trombonist, organist and teacher . KEY: rec=recorder; S’o=sopranino; S=soprano; A=alto; T=tenor; B=bass; indicates a solid faithfulness to the Although he spent the major part of gB=great bass; cB= contra bass; Tr= treble; original composition . his creative life in Italy, his music was qrt=quartet; pf=piano; fwd= foreword; The most interesting differences praised in Germany and thus was opt=optional; perc=percussion; pp=pages; sc=score; pt(s)=part(s); kbd=key­board; between the Riemann and Herrmann influential in the dissemination of bc=basso continuo; hc=harp­sichord; editions are in the first movement, Italian styles . P&H=postage/handling . Multiple reviews by one reviewer are fol­lowed by that where Riemann begins on the third The foreword of this edition con- review­er’s name . Publi­ca­tions can be pur- beat of the measure with a second tains interesting information about the chased from ARS Business Mem­bers, measure of six beats before it settles life of the composer: his first musical your local music store, or directly from some distributors . Please submit music into a steady cut time .Two more six- position was an appointment as organ- and books for review to: Sue Gros­kreutz, beat measures appear in the Riemann ist for Nicolaikirche in Leipzig . He is 1949 West Court St., Kankakee, IL 60901 U.S., [email protected]. edition .This new Herrmann arrange- known to have taught in the lower ment starts the piece out on beat one, classes at the Thomanerchor, where he www.AmericanRecorder.org January 2012 37 but rhythms might be challenging to tinuo part has been notated as basso Rosenmüller’s compositional newer players .The movement ends in seguente (drawn from whichever part in style was highly praised. a homophonic texture . the ensemble is the lowest at any The second movement is the first moment) . In the contrapuntal move- was also music assistant for funerals . of three Adagios . Its opening Bb major ments, the bass line of the continuo He was promised the succession to the chord is extended with a fermata, then part tends to be a less ornamented or Thomaskirche cantorate in 1653 . progresses in mostly homophonic simplified version of the bass recorder After he was arrested on suspicion rhythms to a Phrygian cadence . line . In the homophonic movements, of child abuse, hopes for the Thomas The third movement, a Prestis­ the two bass lines are almost exact cantorate ended . He escaped imprison- simo, is very contrapuntal and imita- octave doublings with some rhythmic ment, and records of his life resurface tive .The lively main subject jumps simplification in the continuo bass . in 1660, when he was a composer and from voice to voice in densely overlap- Depending on the instrument a composition teacher in Venice . ping stretto . During the episodes, the used for the continuo, the intricate It was during this period that voices have fun running around in activity in the recorder lines can be lost he composed 12 Sonate à 2, 3, 4, è 5, parallel thirds and sixths . After a flurry to the listener when adding the con- Stromenti da Arco & Altri (the source of activity, the piece closes with three tinuo bass line plus realization .This is for this new edition) .This manuscript measures of homophonic half-note because the arranger’s realization is is housed in the music library of the chords ending on a D major chord . sometimes on the heavy side, often Städtische Bibliothek in Leipzig . The fourth movement, the second playing along melodically in parallels Dedicated to the duke of Braun­ Adagio, is composed homophonically with one or more of the recorder parts . schweig–Wolfen­büttel—possibly why in 3/2 time . After a cadence in the The original figures are provided, so Rosenmüller was appointed Kapell­ home key, the movement ends with a the right hand of the basso continuo meister at the court of Wolfenbüttel— four-measure cadential extension in can easily be thinned-out . One version these sonatas influenced Dietrich Bux­ duple time that moves to the key of Bb that we liked was to add just the bass tehude and Johann Philipp Krieger . major .This sets up ambiguity in what line of the continuo on organ . Rosenmüller himself was greatly influ- the ear expects to hear next . Full of harmonic twists and enced by the Italian composers Gio­ But, sure enough, the Allegro fifth melodic delights, this is a really nice vanni Legrenzi and Arcangelo Corelli, movement is still in G minor . It returns addition to the recorder repertoire . and the German composer Heinrich to contrapuntal texture with a fugal Strong intermediate players could per- Schütz . Rosen­müller’s compositional exposition, wandering around har­ form this piece, but lower intermediate style was highly praised by fellow com- monically, until all voices pause on an players might need to study the more poser and theorist Johann Mattheson E major chord, followed by a three- complex rhythms . All of the voices are in Der volkommene Capellmeister (The measure phrase that seems to be in D . equally active for the recorder players . Complete Music Director). Talk about harmonic suspense—this Performance time is 8-9' .There is This sonata did not originally call is the fourth consecutive movement a gorgeous recording of this piece on for specific instruments .The arranger ending in an unexpected key . Jordi Savall’s album entitled Johann has transposed it from D minor to G The sixth and final movement is Rosen Muller: Sonate Da Camera E minor, making needed octave changes . a virtual repeat of the second Adagio, Sinfonie (Sonata Vii). It is inexpensive This delightful piece with six short but finally brings the piece to rest in to purchase on iTunes . movements opens with a fugal Largo, G minor .The final phrase of this Ada­ I must agree with Mattheson’s presenting a slow, upward-climbing, gio (as well as the previous Adagio) is comments (in the Preface) about chromatic subject, alternating tonic and marked piano and is an exact repeat of Rosenmüller’s work: “I cannot resist dominant entrances, before moving to the previous phrase .This echo-effect admiring the beautiful cantability in a more playful, active countersubject . comes off beautifully on stringed every part . . . One feels obliged to say: Later, the main chromatic subject instruments . For recorder players, go and follow this example ”. appears inverted—still a slow-moving, options for this echo phrase might Sue Groskreutz has music degrees chromatic subject, but heading down- be to alter the length of the notes or from Illinois Wesleyan University and ward . All voices present this inverted to add some gentle ornamentation . the University of Illinois, plus Orff- theme, alternating tonic and dominant . We tried this piece both with and Schulwerk certification from DePaul Here, the countersubject is even more without fully-realized continuo, and we University. Playing and teaching recorder active, using 32nd notes as well as 16th all preferred the recorder quartet ver- are the greatest musical loves of her life. notes . Because this is a Largo, the notes sion without basso continuo . According For 10 years she was president of the of the countersubject are not difficult, to the notes in the preface, the con- American Recorder Teachers’ Association. 38 January 2012 American Recorder ______Education ______A Passion for Excellence in Brazil

By Mary Halverson Waldo, Master class [email protected] with Mary Halverson hy would any recorder teacher, Waldo and or prospective teacher, put in the young timeW and effort to practice like crazy, student submit an audition video, and travel a working on great distance to take a teacher training air and course? The only reason anyone would articulation. willingly go through such a marathon Teacher experience would be, first, out of a pas- Renata sion for the recorder; and second, out of Pereira a desire to gain excellence in teaching observes. the instrument . Located on the site of a garden- This is exactly what a diverse the Brazil Suzuki Festival . Unit 1 like monastic retreat center outside group of 10 Brazilian teachers did is the first of eight levels of teacher of São Paulo, the October Festival in preparation for the October 2011 training available through the Suzuki marked the first Suzuki Teacher Suzuki Method Unit 1 training at Association of the Americas . Training ever to be offered in Brazil .

www.AmericanRecorder.org January 2012 39 Courses in violin and ’cello were also A highlight of the week was Pereira, is working toward her doctoral available, and the string folks were the powerful performance by the thesis on the French Baroque composer happily enlightened in hearing the dynamic Quinta Essentia recorder Hotteterre Le Romain . high quality of music coming from quartet, recently back from a European I look forward to seeing my their recorder colleagues . tour .The energetic young quartet Brazilian friends again next year at the Who attends a teacher training member and Suzuki teacher, Renata second annual Brazil Suzuki Festival . course like this? The same kinds of people were there who attend similar Classified Consider advertising in events throughout Latin America and ______North America: teachers experienced ______in elementary through high school, ______choral, piano, Orff, Kodaly, Montessori For current rates and specifications, see www.americanrecorder.org/pubs/adver.htm. as well as pre-professional performers . Where the haves Please inquire about discounts on multiple- Frederico is an engaging young issue contracts or other special requests. and have-nots Advertising subject to acceptance by physical therapist and a dynamite magazine. Reservation Deadlines: of the recorder world December 1 (January), February 1 (March) , recorder player who, through a social April 1 (May), August 1 (September), music project, brings the gift of can find each other October 1 (November). recorder playing to children in the Rio For more information, contact the FOR SALE Bressan by Blezinger grenadilla ARS office,206A Crestwood Plaza, de Janeiro slums . Cinthia is one of 50 alto with thumb bushing, thumb rest and St. Louis, MO 63126; 800-491-9588 toll free; teachers for 10,000 recorder students hard case. Hardly played. Beautiful sound. 314-961-1866 phone; 866-773-1538 fax Easy to play. $1400 retail. $950 plus shipping [email protected] in her home state of Piaui, 2,806 km to U.S. or Canada. [email protected]. Advertiser Index from São Paolo . Raquel studied mathe- Wanted Kung Classica soprano matics, but now finds herself the sole recorder. 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Submission of articles and photographs is welcomed. Articles may be typed, or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes- in recorder pedagogy, the seasoned sage. They should be for the exclusive consideration of AR, unless otherwise noted. Photos may be instructors also freely shared their sent as prints, or unedited JPG or 300dpi TIF files (minimum 3”x4”). Advertisements may be sent in own valuable ideas about classroom PDF or TIF format, with fonts embedded. teaching .They were happy to learn Editorial office: Gail Nickless, Editor, [email protected], 7770 South High St., Centennial, CO 80122-3122. Books and Music for review: Sue Groskreutz, 1949 West Court St., that Suzuki offers a rich system that Kankakee, IL 60901. Recordings for review: Tom Bickley, 1811 Stuart St., Berkeley, CA 94703. is adaptable to every individual teacher, Cutting Edge: Tim Broege, 212 Second Ave., Bradley Beach, NJ 07720-1159. 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40 January 2012 American Recorder