Spring 2020 AR
spring 2020 spring Published by the American Recorder Society, Vol. LXI, No. 1 • www.americanrecorder.org
Editor’s ______Note ______Volume LXI, Number 1 Spring 2020 Features Winter 2019 AR fter finishing the , in Each instant is filled with echoes...... 11 Tom Bickley which gave us a snapshot The annual look at summer workshops, Aof the recorder’s YouTube presence, I stum- give or take a couple of months bled across a white paper that had been in The Recorder in the Streams my files for a bit: C. S. Penn, Social Net works 2020: Where to Invest Time and Resources Part II: Music Streaming Services ...... 29 (Trust Insights Marketing Analyt ics, A special edition of Recording Reviews Boston, MA: 2019; www.trustinsights.ai). by Tom Bickley The paper predicts that YouTube—combin- Departments ing a video network, social media platform and search engine—will soon become the Advertiser Index and Classified Ads ...... 48 “premier destination for anyone who wants Education ...... 37 to interact with videos.” For a music group How your decision to use a thumb rest may or an individual musician, this report’s many reduce strain and improve your hand position charts predict a trend that the best free advertising is likely to be a channel at www. President’s Message ...... 3 youtube.com. Even those of us without any ARS President David Podeschi listens to music musical activity to promote may want to in a number of formats consider creating a YouTube account, so that we can subscribe to quality recorder chan- Response ...... 10 nels and “vote” for our favorite videos. A former editor of AR remembers that CAG has Tom Bickley moves on to examine promoted young recorder players through the years streaming services in his second install- Reviews ment of the series (page 29), outlining the Recording...... 26 latest ways in which we listen to music. Before the Baroque Just in time to get ready for workshop season (page 11), Gustavo de Francisco Music...... 40 returns to the Education Department, giv- The best Baroque composers, arranged for recorders, ing advice on the various advantages of plus others from among the “greats” using a thumb rest and how using one Tidings ...... 4 may reduce body strain (page 37). Gail Nickless An interview with Martin Bernstein about the Moeck/ SRP Competition; Open Recorder Days Amsterdam; www.youtube.com/americanrecordermag a poem by Monica Boruch (page 10); another music www.facebook.com/groups/americanrecordersociety video contest opportunity, playing music of Sören Sieg
Gail Nickless, Editor ON THE COVER: Contributing Editors “Consort” Tom Bickley, Recording Reviews • Mary Halverson Waldo, Education by Barbara Baum, Amanda Pond & Cynthia W. Shelmerdine, Line Editors oil on canvas, 2019. Advisory Board Cover ©2020, Martha Bixler • Valerie Horst American Recorder David Lasocki • Thomas Prescott Society. www.AmericanRecorder.org Copyright©2020 American Recorder Society, Inc. ARS Chapters & Recorder Orchestras
Alabama Illinois Triad Early Music Society - Greensboro: Susan Benson 252-414-4044 [email protected] Birmingham: Janice Williams 205-870-7443 Chicago: Ben Eisenstein 847-998-0198 [email protected] [email protected] Triangle: Sue Ann Wright 919-208-6188 [email protected] Arizona Chicago-West Suburban: Marguerite Re 630-968-5967 [email protected] Ohio Desert Pipes (Phoenix): Karen Grover 623-687-4791 [email protected] [email protected] Indiana Cleveland: Edith Yerger 440-826-0716 Columbus: Central Ohio Recorder Players & friends (CORP) Arizona Central Highlands – Prescott: Georgeanne Hanna Recorder Orchestra of the Midwest: [email protected] [email protected] Vickie Starbuck 614-404-1273 [email protected] 958-775-5856 Marilyn Perlmutter 419-265-3537 [email protected] Tucson: Scott Mason 520-721-0846 [email protected] Louisiana Toledo: Charles Terbille 419-474-6572 Arkansas Oregon New Orleans Early Music Society: Victoria Blanchard [email protected] Aeolus Recorder Konsort: Carol Woolly 501-224-5341 504-810-8540 [email protected] Eugene: Lynne Coates 541-743-6180 [email protected] Eugene Recorder Orchestra: Connie Newman 541-543-1685 Maryland [email protected] California Northern Maryland: Richard Spittel 410-242-3395 Oregon Coast: Jane Boyden 541-994-5198 Barbary Coast Recorder Orchestra: Frances Feldon [email protected] [email protected] 510-527-9029 [email protected] Massachusetts Portland: Susan Campbell 503-288-4024 Central Coast Recorder Society: Karen Bergen [email protected] [email protected] Boston Recorder Orchestra: Miyuki Tsurutani 617-460-4853 310-850-1227 [email protected] Recorder Orchestra of Oregon – Portland: Laura Kuhlman East Bay Recorder Society: Susan Murphy Jaffe 503-234-2530 [email protected] [email protected] Boston Recorder Society: Henia Yacubowicz 781-237-3927 510-482-4993 [email protected] Pennsylvania Inland Riverside Recorder Society: Greg Taber [email protected] Recorders/Early Music MetroWest: Bonnie Kelly 978-264-0584 Bloomsburg Early Music Ensemble: 951-683-8744 [email protected] Susan Brook 570-784-8363 [email protected] Los Angeles Recorder Orchestra: Matthew Ross [email protected] 949-697-8693 [email protected] Worcester Hills: Julie Massi 617-272-5216 Philadelphia: Melissa Thomson 267-627-2196 Mid-Peninsula Recorder Orchestra: Frederic Palmer Michigan [email protected] 650-591-3648 [email protected] [email protected] Pittsburgh: Helen Thornton 412-486-0482 Ann Arbor: Kevin Gilson 734-780-7476 [email protected] Nevada City: Miriam Morris 530-265-0986 Kalamazoo: David Fischer 269-375-0457 [email protected] [email protected] Rhode Island North Coast: Kathleen Kinkela-Love 707-822-8835 Metropolitan Detroit: Molly Sieg 313-532-4986 [email protected] [email protected] [email protected] Rhode Island: David Bojar 401-944-3395 Orange County: Win Aldrich 909-625-7722 Northwinds Recorder Society: Cynthia Donahey 231-526-7157 Tennessee [email protected] [email protected] Knoxville: Ann Stierli 828-877-5675 [email protected] Redding: Kay Hettich 530-241-8107 [email protected] [email protected] Western Michigan: Jocelyn Shaw 231-740-8110 Greater Memphis: Susan Marchant 662-816-9959 Sacramento: Mark Schiffer 916-698-5774 [email protected] [email protected] San Diego County Recorder Society: Vanessa Evans [email protected] Minnesota Greater Nashville: Carole Vander Wal 615-226-2952 619-297-2095 [email protected] San Francisco: Greta Haug-Hryciw 415-377-4444 Twin Cities: Garth Riegel 651-771-1045 [email protected] [email protected] Texas Sonoma County: Nancy Kesselring 707-823-7455 Missouri [email protected] Austin: Derek & Beverley Wills 512-467-7520 [email protected] [email protected] South Bay: Ani Mahler 408-358-0878 [email protected] St. Louis: Lisa Reiss 618-979-8466 Heartland Recorder Orchestra – Warrensburg: Patrick Larkin Ft. Worth - Cowtown Recorder Society: Southern California: Ricardo Beron 818-782-0710 [email protected] [email protected] 660-909-1835 [email protected] David Kemp 940-224-7896 [email protected] Nevada Dallas: David Podeschi 214-435-4161 Colorado Rio Grande: Marcia Fountain 915-544-3427 [email protected] Las Vegas: Buddy Collier 702-610-6148 [email protected] Boulder: Trudy Wayne 970-667-3929 [email protected] Colorado Recorder Orchestra: Rose Marie Terada 303-666-4307 Utah [email protected] Sierra Early Music Society - Sparks: Maureen Groach [email protected] Denver: Sharon Bolles 303-790-0149 775-219-6549 Utah Salt Lake: Mary Johnson 801-272-9015 [email protected] New Hampshire/Vermont [email protected] Fort Collins: Pattie Cowell 970-484-0305 Vermont/New Hampshire [email protected] Monadnock Recorder Society - Brattleboro: Kristine Schramel 802-254-1223 [email protected] Monadnock Recorder Society - Brattleboro: Kristine Schramel Connecticut New Jersey 802-254-1223 [email protected] Connecticut: John Vandermeulen 203-810-4831 Virginia [email protected] Bergen County: Reita Powell 201-944-2027 [email protected] Greater Fredericksburg: Kelly Kazik Eastern Connecticut: Betty Monahan 860-536-7368 [email protected] Highland Park: Donna Messer 732-828-7421 [email protected] [email protected] Northern Virginia: Edward Friedler 703-425-1324 District of Columbia Montclair: Julienne Pape 845-943-0610 [email protected] [email protected] Washington: Daniel Bruner 202-669-3388 Shenandoah – Charlottesville: Gary Porter 434-284-2995 [email protected] Princeton: MaryJoan Gaynor 609-924-8142 [email protected] [email protected] Delaware Tidewater -Williamsburg: Vicki H. Hall 757-784-2698 New Mexico [email protected] Brandywine: Roger Matsumoto 302-731-1430 [email protected] Albuquerque: Bryan Bingham 505-358-0627 Washington [email protected] Florida Moss Bay: Michael Bancroft 206-523-6668 Rio Grande: Marcia Fountain 915-544-3427 [email protected] [email protected] [email protected] Miami: Ned Mast 305-666-3276 Recorder Orchestra of Puget Sound: Charles Coldwell Greater Orlando: Jacqueline Singleton 407-260-9238 Santa Fe: John O’Donnell 505-662-5745 ROPS@seattle [email protected] [email protected] 206-328-8238 -recorder.org Seattle: Laura Faber 206-619-0671 [email protected] Palm Beach: Missy Rovinelli 561-386-6118 New York [email protected] Wisconsin [email protected] Buffalo: Bonnie Sommer 716-662-5975 [email protected] Pensacola: Charles Tucker 850-525-8256 Green Bay: Denise Jacobs 920-606-9188 [email protected] Sarasota: Carol Mishler 920-655-4414 [email protected] East End Recorder Ensemble - Montauk: Tom Dunfee [email protected] 917-561-0575 [email protected] Milwaukee: Deborah Dorn 262-763-8992 Georgia Southern Wisconsin: Greg Higby 608-256-0065 Hudson Mohawk: Kathryn Kuhrt 518-477-8450 [email protected] Atlanta: Mickey Gillmor 404-872-0166 [email protected] [email protected] [email protected] Hawaii Long Island: Pat Cassin 631-734-7485 Canada New York City: Recorder Guild Natalie Lebert 212-666-7606 [email protected] Big Island: Garrett Webb 808-935-2306 [email protected] Edmonton: Judy Johnson 780-438-6189 [email protected] Okanagan Recorder Orchestra – Kelowna: Rochester: Paul Breese-Garelick 585-738-1028 [email protected] Honolulu: Irene Sakimoto 808-734-5909 [email protected] [email protected] Bruce Sankey 250-776-1550 West Hawaii: Marilyn Bernhardt 808-882-7251 Westchester: Erica Babad 914-769-5236 [email protected] Montreal: Mary McCutcheon 514-271-6650 [email protected] [email protected] North Carolina [email protected] Idaho Toronto: Sharon Geens 416-699-0517 Carolina Mountains: Susan Hartley 423-612-0421 Vancouver: Tony Griffiths 604-222-0457 [email protected] Les Bois – Boise: Kim Wardwell 360-202-3427 [email protected] [email protected] Greenville: Jon Shaw 252-355-2737 [email protected] Please contact the ARS office to update chapter listings.
2 Spring 2020 American Recorder President’s Message ______Greetings from David Podeschi, ARS President [email protected]
write this in January so it is apropos to marvel at being in I am not a Luddite. I own CDs—but wait, those are a new decade, the third of the 21st century. As the new history; that format had a shelf life of only 35 years. The cur- yearI turned, I couldn’t help but think about technological rent method for listening is downloading from iTunes, right? change. At the turn of the 21st century, I worked at a corpo- Wrong again, that format had a shelf life of only 20 years. ration worried about what Y2K would do to computers; that Other than YouTube videos, my preferred method now next month, the first of the 21st, I had a grandson born who is one of the streaming services that allows you to select a has never known life without the Internet—yet for his recent specific piece of music. In this category are Spotify, Tidal and birthday he wanted a turntable! Outstanding, right? Qobuz. I’ve tried all three; they all have pretty deep catalogs. A desire for a tactile analog presence in his digital world. Currently I use Qobuz, as it seems to provide greater fidelity. I might mention that I have never been without a turn- My personal catalog depth test is to search for Guil table. I still have my LP collection, still buy LPs, regularly lis- laume de Machaut’s Phyton Le Mervilleus Serpent. All three ten to them and can argue their merits vs. digital ad nauseam. have the same problem with classical music—or really One of my treasures is a boxed set of David Munrow and the anything other than pop music: searching for specific music Early Music Consort of London called Instruments of the is a challenge. On Qobuz my initial search on Machaut Middle Ages—a sampler of early music and instruments, brought up one album of 14th-century songs, of which two everything from bladder pipe to vihuela. It is from 1976 were by Machaut. It took three more tries using different and was my introduction to early music and instruments. search criteria to find Le Mervilleus Serpent and a plethora of Machaut. It is worth the search effort to have these deep My preferred method now is one of the catalogs at one’s fingertips. streaming services that allows you to select Later in this issue is an in-depth article on streaming by Tom Bickley a specific piece of music. My personal catalog so if I’ve piqued your interest, be sure to read it. Also don’t forget that this is the annual workshop depth test is to search for Guillaume de issue. There is nothing like making your own music, espe- Machaut’s Phyton Le Mervilleus Serpent. cially in ensemble, and attending the professional player con- certs available at many workshops. I hope to see you at one.
www.AmericanRecorder.org Spring 2020 3 Tidings ______Martin Bernstein at Moeck/SRP competition, ______a poem about the recorder, ORDA Open Recorder Days Amsterdam 2019 Standing in front of With its variety of concert halls and classrooms, it hosted the registration table, professional and fringe concerts ranging from Medieval to I instantly recognized a the latest in contemporary art music, jazz and pop. It also familiar, smiling face from the acclaimed Royal Wind Music housed an instrument exhibition and lectures, with fine (RWM) ensemble, Anna Stegmann. With genuine enthusi- recorder makers present. asm she said, “Oh, I didn’t know there were any Americans There were numerous master classes with world- here!” renowned artists—including French virtuoso Sébastien I had arrived at Open Recorder Days Amsterdam Marq, and the world famous Dutch recorder player Walter (ORDA), held October 24-27, 2019, and billed as van Hauwe; ensemble workshops with Tom Beets, formerly “The biggest recorder festival in Europe.” Sponsored by of Flanders Recorder Quartet; and a day-long Teachers’ the Royal Wind Music Foundation, ORDA is a unique Conference, moderated by Team Recorder online celebrity international recorder conference, taking place every two Sarah Jeffery, with the theme, “Improvisation.” In his years since 2013, and it is the most impressive happening of its kind I have ever seen. It took me by surprise to see at least five core members of the RWM working right along- side conference volunteers, signing in participants like me, and helping to answer questions throughout the four-day weekend of this special event. Although I had previously heard of ORDA, this was my first visit, and as I walked into the contemporary architecture of the Amsterdam Conservatorium lobby, the place was buzzing with energy. The language spoken at this conference is English, so I immediately found others with whom to converse about interests similar to my own. I was surrounded by a huge gathering of serious recorder players, ranging in age from young children and teens to young adults, and on up to active, talented seniors. The Conservatorium van Amsterdam, looking out over a bustling waterway, was the perfect location for ORDA. A group photo during ORDA of Suzuki teachers, students and families— from Brazil, Canada, Iceland, Mexico, The Netherlands, Peru, the UK and the U.S. Mary Halverson Waldo is in the third row, third from left—and to the right of her and up a step is Renata Pereira from Brazil; standing at front right is frequent AR contributor Gustavo de Francisco of Brazil
4 Spring 2020 American Recorder The ORDA competition is a huge gift to the Shortly before press time, the sad news arrived that Anthony Rowland-Jones had international recorder education community, died peacefully in his sleep. The 2007 ARS Presidential as it provides a meaningful incentive for students— Special Honor Award recipient was nearly 94 years of age. The author of several books and of soloists, consorts of all sizes, and mixed chamber numerous articles about the recorder in various publica- ensembles—to work with deep intention tions, Rowland-Jones contrib- uted writings to the predeces- toward an event with a high bar. sor of AR, a newsletter pub- lished by the ARS in the 1950s, second career after his years with Amsterdam Loeki Stardust Quartet, Daniël and continued up to more recent times. His last AR arti- Brüggen has recently released another recorder-related film, Excerpts from Sound cle was a culmination of his and Soul. This exploration of Frans Brüggen’s historical recorder collection was a research through the years beautifully contemplative, almost spiritual experience. (His other films are avail- www.musicframefilms.nl/DVD.html (Spring 2018, Department of able at , with one segment in which he inter- Amplification, “The ‘Inven views the late Friedrich von Huene posted on the ARS YouTube channel at www.youtube.com/americanrecordermag/videos tion’ of the Recorder, and .) Considering when a Recorder Finally, there were competitions—the new composition contest, and is not a Recorder”). Memories the huge, popular, student competition, with a variety of different categories. of Rowland-Jones will appear I first heard about ORDA several years ago from my Brazilian colleague, in the Summer AR. Renata Pereira, whose young Suzuki recorder student entered the competition in 2015 and placed second in her category for ages 7-11 soloists (see the article in the Winter 2015 AR to read about young Julia’s first appearance at ORDA). Two years later at age nine, the same student competed again, won a first prize, and was also voted Audience Favorite. The ORDA competition is a huge gift to the international recorder education community, as it provides a meaningful incentive for students—soloists, consorts of all sizes, and mixed chamber ensembles—to work with deep intention toward an event with a high bar. ORDA is an inspiring, revelatory experience for students and teachers alike, as they hear performances at a high level of quality and realize the possibilities. Well-prepared competition participants this came year from all over Europe, Latin America and East Asia—including a prize-winning Taiwanese recorder orchestra of highly skilled young school children, Taiwan Hsing-Lung Primary School Recorder Orchestra! Various ORDA performances can be heard at www.youtube.com/channel/UCr2v5K1mNpW6K4chWnADfeA/featured. One side benefit of attending ORDA was that five Suzuki Method Recorder Teacher Trainers—from Brazil, Canada, The Netherlands, the UK and the U.S.— met together in the same place for the first time. We arrived a day ahead of the conference, and made a pilgrimage to nearby Utrecht, where we met musicologist and author Thiemo Wind for an enlightening tour around the haunts of iconic composer, recorder player, and keeper of carillon bells, Jacob van Eyck. (Visit Wind’s web site at www.jacobvaneyck.info/main.htm.) The next ORDA happens in about two years (www.openrecorderdays.com). Let’s see if we can get a few more Americans to join me there in 2021. Mary Halverson Waldo, Columbia, SC, [email protected]
www.AmericanRecorder.org Spring 2020 5 Contributions The following generous donors contributed between September 1, 2019, and January 31, 2020. Their generosity makes it possible to offer scholarships and grants; offer support to our chapters, consorts and recorder orchestras; create a beautiful and informative magazine; keep recorder players in touch with each other; and much more. The American Recorder Society can’t offer these programs without you. Thank you for your support.
Opera ($2500-$4999) Dixon, Peter Stewart, Bill Lieby, David Sinkiewicz, Gerald Anonymous Eslinger, Suellen & Taylor, Elizabeth Mahar, Beth Spittel, Richard Abraham Santiago Terris, Sally & Bruce Markham, Howard Stern, Eric & Benjamin Symphony ($1000-$2499) Espenshade, Mary Anne Traynor, Patrick Meadow, Margery Sullivan, Malissa Becker, Jann Estep, Tony Webb, Garrett Miller, Jody Tennent, Robert Faber, Peter Fischer, David Wright, David Moss, Phyllis Thompson, Sandra Frederick, Nancy Foster, Robert Murrow, Gene Ungerer, Joseph Nelson, John Franson, Mary Ann Prelude Level ($25-$99) Neske, Katiri von Kerczek, Christian Primus, Constance Funderburk, Lance Arbelo, Miriam O’Connor, Beverley Wills, Beverley & Derek Richter, Susan Gillmor, Mickey Ayton, William O’Hehir, Martha Wulff, Lenore Rising, Linda Gosman, William Barton, David Perkins, Lee Wyan, Vicki Roessel, Susan Harrington, Regan Basile, Donna Preiswerk, Johanna & Peter Harris, John Beck, Barbara Raspe, Julia Blue Board Donations Concerto Level Henderson, Elaine Beeuwkes, Dorothy Rosen, Joan Carpenter, Jennifer ($500-$999) Heup, James & John Rosenthal, Carolyn Haug-Hryciw, Greta Anonymous Hopkins, Jean Berlin, Letitia & Rostas, Thomas Hollar, Philip East Bay (CA) Horst, Valerie Frances Blaker Rovinelli, Glen & Missy Mishler, Carol Recorder Society Howell, Sharon Bethel, Jim Salvaggione, Angela Podeschi, David Farrell, Ellen Jaderstrom, Noel Bolles, Sharon Schabelski, Kathleen Powers, Wendy Feinberg, Edward Johnson, Lawrence Bonifati, Louis Scher, Charles & Reda Prescott, Barbara Holy, Chantal Johnson, Yvonne Boothby, Thomas Schub, Linda Smutek, Judith Immaneni, Nina Leiby, Peggy Boshuizen, Marianne Sherman, Ann Pond, Amanda Sustaining (Monthly) Leipold, Dennis Browne, Marilyn Sherrick, Kathy Rovner, Ann Barclay Anonymous Linsenberg, Judith Brunson, Paul Sniezek, Peggy Sarasota (FL) Chapter Ainsfield, Neale Loughner, Doris Campbell, Susan Swartzman, Monte Schlafly, Laura Blumenthal, Len Mandel, Gerry Chen, Alan Tabb, Steve Holmes, Claudia Marshall, Anne Chesnut, Joanna Taylor, Sally Overture Level Hunter, Elaine McGown, David Chifos, Bobbi Thompson, Peter & ($250-$499) Moore, Sharon McPherson, John Cohen, Betty Thelma Anonymous (2) Moyer, Barry Miki, Eiji Conley, Martha Timberlake, Anne DePriest, Valerie & Pontious, Elaine Miller, Elaine Crawford, Cynthia van Proosdij, Hanneke William Porter, Gary Miller, Joanne Dart, John Wexler, Karen Felton, Virginia Prudhomme, Jonathan Mullen, James Dean, Allan Winkler, Martin Friedler, Edward Prescott, Thomas & Neufeld, Bee Dombek, Charles Wold, Shelley Hsu, Martha Barbara Oberst, Marilyn Dorschel, Craig Krieger, Barbara & Paul Rosen, Joan Mason, Susan Pace, Richard Dunham, Benjamin Amore Elizondo, Joanna Anonymous Petersen, Patricia Peskin, Carolyn Margaret DeMarsh Fund Skory, Linda Potter, John Fisher, Dr. David Andrews, Jennifer Fuller, Jody Binford, Benjamin Adirondack (NY) Thornton, Helen Regen, David Baroque Consort Todd, Katherine Reimers, Edith Gangwisch, John Brush, Bart Zurflieh, Patricia Riggsby, Kate Garlick, Nancy Burnett, Karen Ken Wollitz Roberts, Gwyn Gayle, Lorinda Cipullo, Edward Scholarship Fund Sonata Level ($100-$249) Rodewald, Charles Ginnis, Richard Frisch, Benjamin Charlie Wollitz Anonymous (3) Rogers, Patsy Glasscock, Robert Galhano, Cléa Aldrich, Winthrop Roudebush, Deborah Granata, Elaine Good, David In honor of Martha Bixler Ballesteros, Jill Rudisill, Hillyer III Griffiths, David Gross, Stanley Seely, Neil & Liz Barnert, David & Martha & Annabel Gutnick, Tom Bixler, Martha Ruthenberg, William Hale, Raymond Hagen, Amelia In honor of Marilyn Boenau Blewster, W.C. Schaler, Ilse Harwood, Sally Hall, Vicki Maine, Deborah Bloomberg, Dan Schiffer, Mark Haslam, Deborah Hureau, Richard Bossler, Ruth Schoomer, Suzanne Hertel, Marsha Lingel, Mary In memory of Bramwell, Jeannine Schultz, Charlie Hunter, Bockett Manson, Joseph David Goldstein and Brown, Margaret Schwartz, Eric Kac, Deborah McKnight, Barbara Morris Newman Brylawski, Robert Senn, Caroline Katechis, Merlyn McRae, Deborah Carbone, H. Richard Budlong, Kate Shaw, Jocelyn Kelly, Bonnie Mendenhall, Marcus Bueler, Lois Shelmerdine, Cynthia Kielson, Lisette Monahan, Elizabeth In memory of Bob Helman Buss, Nancy & Katherine Bracher Kim, Marianne Nash, Steve Bergen, Karen Charsky, Thomas Koenig, Ann Paterson, Scott Shiff, Naomi In memory of Cockey, James Koppel, Lowell Ramsey, Ilona Smith, Myrna G. Michael Hepinstall Coleman, Michael Landesman, Betty Riddell, Cecilia Sprugel, Doug & Katie Van Wyck, Don Davisson, Mimi Layne, Kathryn Simpson, Nan
6 Spring 2020 American Recorder The Sören Sieg Music Video Competition invites you and In honor of Susan Iadone your group to make music videos of trios, quartets or quin- Stephenson, Jean tets by the composer (visit www.soerensieg.de for a list of In honor of Bob Lauer Sieg’s compositions). The subject of the video should be Lauer, Mary your group playing a complete movement (for variations, In honor of Judy Linsenberg theme plus any three variations). It can also be a multitrack Elliott, Jan recording by one player. There is no age limit. Anyone can take part. In memory of Bob Marvin Sieg remembers his fascination as a child upon seeing Yellow Submarine from Gilford, Beth Prescott, Thomas & Barbara The Beatles: “The video creates its own visual world that reflects the emotions of the music.” He also says, “I am convinced that [videos] have become just as impor- In honor of Gisela McClellan Holenda, Eric & Christina tant for classical music [as for pop] and offer opportunities that we have only just begun to imagine.” Musicians can enter with videos created on any device, which: In memory of Mary McKenney Pontious, Elaine • Film the musicians while playing in a traditional way • Illustrate or contrast the title or emotional content of the piece with photos, In honor of Joanna Schultz Schultz, Catherine & Rebecca landscapes, people, street scenes or abstract motifs • Tell a story about the music in pictures In memory of Jerry Schwartz and Steve Sherman • Combine the music with poems or prose Thompson, Carol (or supplement with other instruments) • Integrate documentary “making-of ” elements In honor of Karen Snowberg Sousa, Elizabeth • Combine these different elements in a creative video. The goal is to create a successful, coherent, captivating or surprising visual In memory of Jack Waller Delano, Louise implementation. In addition to Sieg, the awards jury will include recorder player Ebba-Maria Künning-Zeijl (Flutes en bloc, Duo Schlagwind, Music In memory of Elizabeth Zuehlke Mohr, Burckhard Conservatory Hamburg) and internationally-awarded filmmaker Claire Walka (www.clairewalka.de). www.youtube.com/ From all of us at the American A couple of examples of interesting videos are: Recorder Society, thank you for watch?v=k20nCHRQS9I; www.youtube.com/watch?v=qHCb749YdKc. being a member of our community. Deadline: September 1, 2020. The winners will be announced on October 1. All contestants will receive a personal evaluation and appreciation text. Prizes are: 1st—2000€ (about $2200) and a new piece composed by Sieg; 2nd—1250€; 3rd—750€; 4th-12th prizes—two sheet music editions and a CD. Please e-mail your application with a download link to your video (for exam- ple, via DropBox), explanations about the video, and information about yourself to: [email protected]. The video should be produced only for the competition. Videos already published on YouTube or other platforms are not permitted. Entries in this contest may be published on Sieg’s channel, www.youtube.com/channel/UCbHclwvI2mgXjenO7EKEXIw, and linked to and embedded in your own web site.
www.AmericanRecorder.org Spring 2020 7 Martin Bernstein takes third place in Moeck/SRP Competition North Americans were thrilled to learn late last fall that Martin Bernstein had become the first American finalist in the history of the British Moeck/Society of Recorder Players (SRP) Solo Recorder Player Competition. The other finalists were Tabea Debus and Paula Pinn, of Germany; and Hojin Kwon, of South Korea. In the playing finals, held on November 8 at All Saints’ Church, Blackheath, London (shown at top left on the facing page), the first place went to Debus; Kwon took second, Bernstein third, and Pinn fourth. Founded in 1985 and sponsored by the recorder maker Moeck, the Early Music Shop of London, and the UK’s recorder society, the biennial competition is recognized as one of the most important contests worldwide for recorder players under age 30. Past winners have included Piers Adams, Ashley Solomon, Robert Ehrlich and Daniel Koschitzki. For more information about the competition, visit www.srp.org.uk/srpmoeck-competition. Readers of AR have been able to follow now-22-year-old Bernstein’s progress as a recorder player, as the teenager won scholarships from the ARS and awards from Early Music America through the years. Any mention of Bernstein must include Bart Spanhove’s Winter 2014 AR interview with him—after he had won the Mieke van Weddingen Prize, an international competition in Belgium (and prior to that, the 2013 Piffaro Young Artist Competition). An earlier report described Bernstein’s very effective choice to enter from the rear of a cavernous cathedral during the ARS Next Genera tion concert at the 2013 Boston (MA) Early Music Festival—processing down the aisle while playing a Bassano ricercata. Bernstein impressed the audience in a recital in his home town of New York City, NY, as described by Judith Wink’s Spring 2018 AR report. Also over the years, he has appeared in concert across Europe and the U.S. Hear him play on his YouTube channel at www.youtube.com/MrBaroqueRecorder—and read below his responses to questions about his partici- pation in the Moeck/SRP Competition, and about recorder playing in general. We could start with the usual opening: instrument … so Charles kept giving the modes of thinking that develop how did you start playing the recorder? me new repertoire, and I never had to and become entrenched—and there Who have been your teachers? switch to another instrument. I studied are some similar questions involved I started playing like so many kids! with Nina Stern in high school, and in playing old music… There was a plastic recorder in the then at the Royal Conservatory of house, and a book with some finger- The Hague with Reine-Marie I know you’ve participated in several ings. I was around five or six, and my Verhagen and Han Tol. competitions: you won the Piffaro Young parents took me to a piano teacher Artist Competition in 2013, and the 2014 named Charles Sibirsky, who offered You’re currently attending Harvard Mieke van Weddingen Prize for recorder recorder lessons. University —what do you study? What players under age 22. How would you I guess that was the part of made you decide to attend school there— compare the Moeck/Society of Recorder Brooklyn where piano teachers knew and is your study related to your musical Players Competition during the London that the recorder was a serious Baroque interests? International Festival last November? I’m finishing a bachelor’s degree in his- I practiced much more this time! I do Get New Solo tory and philosophy. Something com- these competitions because they give Music pletely different—and it makes even me something to work for—the Moeck less money than playing the recorder! competition is targeted at players who Every Month There were a lot of other things are already beginning professional Subscribe now and receive two I wanted to learn about when I was in careers, so I had a much larger amount new .pdf files each month. conservatory, and I ended up spending of music to prepare, and I worked a lot of my free time reading. So I closely over a longer period of time $24.95 for 24 pieces per year. started school here—now I read too with my own continuo group. That Great gift for most instruments. much, which means I have lots of made this very rewarding. motivation to play! At first I didn’t Special $19.95 think what I was doing was related to Describe the Festival for readers. What For subscription info my music at all, but now I realize that it was your schedule during the Festival? is: I’m studying the ways groups have I didn’t spend much time at the rest send request to thought (or seen, listened, played, or of the Festival, but they host a large [email protected] felt) at different times. I’m studying instrument exhibition, and nightly concerts from a variety of early music 8 Spring 2020 American Recorder I make sense of this music by thinking about songs and poetry, by trying to share the stories I find.
That’s right, I remember that I saw in your Festival bio state- ment that you played there with Emmanuel Arakélian, a harpsichordist (left below), and with viol player Salomé Gasselin (right below, with Bernstein at center)—your partners in Rumore Terribile. What are your current playing activities? Of course, we have to know the story behind the groups. The Festival is very recorder heavy, exciting for us! name of that group, in which you’ve played for several years. I spent most of my time there practicing or rehearsing with Yes, it was great to do this together! That lovely name is my continuo group—but we had enough time to find some thanks to a very kind resident of Urbino—it’s a gorgeous good cheese after the competition (that’s part of the deal 15th-century town in eastern Italy, and we were playing at when you play in a group with French musicians). the festival there. Salomé found a beautiful little shaded alley that had this great acoustic, where the sound resonated up Was there a prescribed list of pieces from which you had to choose the sides of the buildings. So she took out her viol to play, what to play? Or were you able to choose a program on your own? and was quickly asked—rather sternly!—to stop making There was one obligatory piece, and other than that we were such “rumore terribile.” Terrible sounds, we thought, that’s free to make our own 45-minute programs. All of the final- exactly what we like to do in concert… ists had to prepare transcriptions of three movements from We have a couple of concerts coming up this season, at a Bach harpsichord suite (BWV 813, the second “French festivals in Paris and the south of France. I’m not sure if any suite”). Michael Form, the president of the jury, does a lot of your readership will make the trip, but I’d be happy to see of transcriptions like these himself. We had some different anyone there! And, we’re excited to come back to the U.S. approaches: Hojin and I both played the harpsichord’s right in March of 2021 for a couple of concerts on the east coast. hand, and turned the left hand into a continuo part; Tabea and Paula adapted the piece for recorder solo. So, music, philosophy, history. What does the future hold for you? It’s a good question. I’ll let you know when I find out! My sense, from hearing you play in the past, is that you choose pieces that have a sense of Harpsichordist drama that you can coax out in your perfor- Emmanuel mance. Within the confines of a competition, Arakélian (l), did you find it possible to do that musically? Bernstein, and What a nice way to put it! Yes, this felt viol player more like a concert than a competition— Salomé Gasselin I had an all-star continuo team [Emmanuel Arakélian and Salomé Gasselin], and we could work together on presenting a dramatic program. We built the program around pieces with words—I make sense of this music by thinking about songs and poetry, by trying to share the stories I find in all of it. So we arranged music with texts, both explicit and implicit: French airs and Italian songs, alongside pieces where composers try very deliberately to trans- late spoken words into an instrument’s language. And seeing this as a chance to play chamber music, rather than a solo competition, made it much more fun! www.AmericanRecorder.org Spring 2020 9 ______Response ______Recorder players and the Concert Artists Guild More on the accomplishments of young professional The Guild has always been open to recorder players! recorder players I enjoyed reading about the sponsored by the Concert Artists Guild, or CAG, which included recorder player competition winners reported in Tabea Debus). the Winter 2019 American Recorder I thought the piece on the CAG results could also have mentioned the 1992 (Martin Bernstein as a finalist at the winner Aldo Abreu, the Venezuelan professional recorder player who is currently Moeck/Society of Recorder Players on the faculties of several Boston-area universities, including the New England Competition; and the results of Conservatory, and who has performed all over the Americas, New Zealand and the Victor Elmalah Competition Europe; and Daniel Waitzman, CAG competition winner in 1971—whose Recorder career began at age 15 in 1959, when he made the first of several recordings A poem by Monica Boruch—for my teacher, Gwyn Roberts with his teacher and mentor Bernard I sit at my music stand with light shining on notes and paper Krainis, and then progressed through It’s evening and quiet in my surroundings. a number of professional successes including careers as a performing The closet-sized room flushed with warm, mauve walls artist, author and composer. Readers Envelops me like a timeworn shawl. might be interested in browsing Family photos, jottings of hope and peace, the Wikipedia pages (https:// Parallel the wooden stand with recorders stood vertical. en.wikipedia.org/wiki/Aldo_Abreu; https://en.wikipedia.org/wiki/Daniel_ In my sixth decade, Waitzman) of both of these profes An unexpected gift has come to me. sionals who were formerly on the A drive to fulfill something. An ache. CAG rolls, as well as in the interview with Aldo Abreu on pages 4-5 of the I know I may not reach the goal I want. December 1992 American Recorder. Small sorrow that this did not arrive sooner. In 2004, the prizewinners Minding body and position. Thumb, chin, tongue, fingers, holes and breath. included the Quartet New Genera Quantity, quality, lightness, weight, balance and direction. tion, an ensemble of four young female recorder players founded at the conser- How can a piece of wood invite and radiate so much? vatory in Amsterdam, The Nether With a breath, I play lands. For more information, visit https://en.wikipedia.org/wiki/Quartet_ Music from the fathers of Baroque. New_Generation. Ornaments of trills, mordents, and grace notes The Guild has always been open Endings of port de voix, delayed cadences and appoggiaturas. to recorder players! Harmonies, dissonances, rhythms and resolution, Ben Dunham, Marion, MA, Flow in and over me like a gentle wave. [email protected] Time passes. Responses from our readers are welcomed And more time passes. and may be sent to AR, 7770 South High St., Centennial, CO 80122, or e-mailed to Blessing. Grace. [email protected]. Letters Melding into the wood, I am there. may be edited for length and consistency.
10 Spring 2020 American Recorder Each instant is
Windsf illed and Waves Recorder with Workshop echoes Sitka Center for Art and Ecology, Otis, OR May 1-4 Faculty: Frances Blaker, Letitia Berlin, Vicki Boeckman, Rainer Beckmann Music by the Sea Celebrate Sitka’s 50th Anniversary at the Winds and Waves Recorder Workshop Come work on recorder repertory from the 14th century to today under the guidance of an internationally renowned faculty. Winds and Waves offers graded technique and repertoire classes, plus general “grand consort” sessions—all in a spruce-hemlock forest perched above the Salmon River estuary. Take a break for four days and open yourself up to inspiration from the setting, the teaching and the music. Classes are divided into three skill levels: intermediate, upper-intermediate and advanced. The hours of this workshop are Friday, Saturday and Sunday, 9 a.m. to 5:15 p.m. and Monday, 9 a.m. to 3 p.m. Catered lunches and a ticket to the faculty concert are included in your tuition fee. Contact: Tamara Jennings, Program Manager, 56605 Sitka Drive, Otis, OR 97368; 541-994-5485; [email protected], [email protected], www.sitkacenter.org
Bloomington Early Music Festival Bloomington, IN May 10-17 An annual series of concerts celebrating performances and workshops by local, regional and national performers and scholars. We will partner with the Historical Performance Institute (HPI) at the Indiana University Jacobs School to present the festival concurrently with the HPI annual conference, and celebrate the department’s 40th anniversary by welcoming several notable alumni back to Bloomington. Details TBA. Contact: P.O. Box 734 Bloomington IN 47402; [email protected], www.blemf.org
Thanks to David Lasocki for the quote, which he posted on Facebook, that is the headline for these workshop listings. It is taken from Douglas J. Penick, Dreamers and their Shadows (Boulder, CO: Mountain Treasury Press, 2013), a book loosely based on the Photo: William Stickney teachings of Buddhist meditation master Chögyam Trungpa.
www.AmericanRecorder.org Spring Spring 2020 2020 1111 Headlands in Berkeley Suzuki Association of Letitia Berlin (in red at left) Workshop for Recorders the Americas conducts a large group at and Other Instruments 19th biennial Conference Winds and Waves St. Mary Magdalen Church, Minneapolis, MN featuring Suzuki instruments (recorder, 2005 Berryman St., Berkeley, CA May 21-25 flute, voice, harp, guitar, violin, viola, ’cello, May 16 Recorder Coordinators: bass, trumpet, keyboard instruments, Directors: Glen Shannon, Ray White Gustavo Enrique de Francisco, early childhood, etc.); master classes, Faculty: David Morris, Tish Berlin, Mary Halverson Waldo performances, interactive sessions and Frances Feldon, Frances Blaker Learning Suzuki-Style lectures; for teachers, students and This year’s workshop is a day of music for The Suzuki Association of the Americas parents. recorders and other early instruments. (SAA) 19th Biennial Conference prom- Recorder teachers have the opportunity Contact: Patricia Wheeler, ises to be an inspiring and life-changing to meet together and share about the 529 Woodmont Ave., Berkeley, CA experience for all who participate: a wide exciting work being done throughout the 94708-1231; 510-525-3783; Patricia@ variety of generic and instrument-specific Americas—for the recorder! There are batnet.com, wwww.eastbayrecorders.org sessions for music education at all levels, many opportunities to show high level performances, to collaborate with other instruments, and to share pedagogy ideas. A special feature this year: recorder students will rehearse and perform in concert with a unique selection of Suzuki areas such as voice, trumpet, bass and organ. Paul Leenhouts, our internationally acclaimed Recorder Clinician, will offer master classes and also chamber music sessions, both for Recorder Consort and for a Baroque Ensemble session. A founding member of the Amsterdam
12 Spring 2020 American Recorder Amherst Early Music Memorial Day ADULT EARLY Weekend Workshop (ARS) Litchfield, CT MUSIC WORKSHOP May 22-25 Director: Valerie Horst Faculty: TBA Don’t miss this getaway weekend in the Join us for the 2020 Early Music Workshop as we Connecticut countryside. Enjoy delicious explore Renaissance music from German composers! meals with good company, classes and accommodations conveniently located Period instruments are highlighted and program under one roof, and elevator accessible. sessions focus on articulation, ornamentation, Contact: Marilyn Boenau, improvisation, and rehearsal techniques. 35 Webster St., West Newton, MA 02465; 781-488-3337 (day); [email protected], www.amherstearlymusic.org
Suzuki Teacher Training The Saint Paul Conservatory of Music, June 2 - June 6, 2020 1524 Summit Ave., St. Paul, MN May 25 (evening)- May 29 college.interlochen.org Unit 4 Recorder Teacher Trainer: Mary Halverson Waldo Prerequisites: Units 1, 2 and 3 Loeki Stardust Quartet and Royal Wind Music, Leenhouts is director of the contem- Contact: Mary Halverson Waldo, porary music collective Blue Iguana and of early music at the University of North [email protected], Texas. In 1986, he initiated the Open Holland Recorder Festival Utrecht and since https://suzukiassociation.org/events/ 1993 he has been director of the International Baroque Institute at Longy in institutes Cambridge, MA. For his international activities as a musician, conductor and organizer, he received a United Nations Life-time Achievement Award in Summer Texas Toot (ARS) Hsin-Chu City, Taiwan, in 2017. Schreiner University, Kerrville, TX [email protected] Contact: Gustavo de Francisco, , May 31-June 6 [email protected] www.suzukiassociation.org Mary Halverson Waldo, , Director: Daniel Johnson; Susan Richter, administrator Faculty/performers: TBA The Summer Texas Toot offers a one- week program of classes at all levels, focusing on Renaissance and Baroque music, but also ranging from Medieval to Sephardic to 21st-century. Expert instructors in recorder, viol, lute, harp, continuo, reeds and voice will teach tech- nique classes, coach one-on-a-part groups, and lead larger ensembles, both mixed and whole. Contact: Susan Richter, Administrator, or Daniel Johnson, Director, P.O. Box 4328, Austin, TX 78765; 512-578-8040; [email protected], www.toot.org
www.AmericanRecorder.org Spring 2020 13 Mary Halverson Waldo Memphis Suzuki Institute works individually with Southwest Tennessee Community College, Memphis, TN a Suzuki recorder June 4-12 student Director: Samuel Sidhom; Mary Halverson Waldo, Recorder Teacher Trainer Are you a musician who would like to teach the recorder and work with young children? Do you have a genuine affection for children and an interest in helping them develop as human beings through the study of music? Are you interested in work- ing in a cooperative atmosphere with children, parents and col- leagues? If so, you may be interested in investigating the Suzuki approach to music education. Many musicians who use the Suzuki Method have found that it provides a unique avenue for helping children and families as well as providing opportunities for their own growth as musi- cians, teachers and human beings. Contact: Samuel Sidhom, 9245 Poplar Ave., Ste. 5 #391, Germantown, TN 38138; 901-848-1955; [email protected], https://suzukimemphis.com Whitewater Early Music Festival (ARS) University of Wisconsin, Whitewater, WI June 5-7 Directors: Nancy Chabala, Laura Kuhlman, Pamela Wiese Interlochen Early Music Workshop Faculty for recorder/voice: James Chaudoir, David Interlochen Center for the Arts, Interlochen, MI Echelard, Shelley Gruskin, Eric Haas, Lisette Kielson, June 2-6 Laura Kuhlman, Mona Mann, Gayle Neuman, Phil Director: Sarah Huebsch Schilling (also faculty; others TBA) Neuman, Patrick O’Malley, Karen Snowberg, Pam Wiese; German Composers viol: Gail Ann Schroeder, Holly Maurer, Katherine Schuldner We’re traveling to German-speaking lands for the 2020 Early Weekend filled with playing early instruments—recorders, Music Workshop with sacred and secular music for song, dance viols, krumhorns, bagpipes and various other early instruments. and prayer. You’ll get to know the music and history of German Once again we are including the “Third Coast Viol Society” composers with fellow early music enthusiasts. We’ll puzzle to expand our viol program. through Schiller and Goethe’s refrain: “Germany, but where Contact: Pamela Wiese, Oak Park Recorder School, is it situated?” Program sessions focus on performance topics 411 Ashland Ave. 5D, River Forest, IL 60305-1855; including articulation, ornamentation, improvisation and 708-860-0451; [email protected], rehearsal techniques. Other sessions will cover specialized top- www.whitewaterearlymusic.org ics like music of Martin Luther, crumhorn consort, and more. In five days, you’ll work towards an optional performance and Berkeley Festival & Exhibition play music by composers who lived and worked in Germany Berkeley, CA including Martin Agricola, Hans Leo Hassler, Michael June 7-14 Praetorius, Heinrich Schütz, and Samuel Scheidt. Exhibition: June 11-13, Westminster Hall, We welcome players of: recorders, early winds (cornetto, First Presbyterian Church of Berkeley shawm, dulcian, sackbut, crumhorn), violins (with Baroque/ Founded in 1990—and alternating in even-numbered years Renaissance bow), viols, lutes, Renaissance harp, harpsichord with the Boston (MA) Early Music Festival in odd-numbered and percussion. There will be opportunities for vocalists as well. years—the Berkeley Festival & Exhibition (BFX) has become Contact: Interlochen College, P.O. Box 199, Interlochen, MI one of the world’s largest and most important early music con- [email protected], 49643-0199; 231-276-7387; claves, deemed “a remarkable institution on the American http://college.interlochen.org/adult-classes/early-music musical scene” by The New York Times. 14 Spring 2020 American Recorder ARS Administrative Director greets Early Music America Young Performers those attending the exhibition at the Festival & Emerging Artists Showcase 2018 Berkeley Festival June 8-10, Berkeley and San Francisco, CA Early Music America (EMA) is thrilled to announce the 10th annual Young Performers Festival ( June 8-9 at the San Francisco Conservatory of Music) and third annual Emerging Artists Showcase ( June 10, Berkeley, CA) as part of the 2020 Berkeley Festival & Exhibition. This will mark EMA’s fourth partnership with the biennial Berkeley Festival—the first since Derek Tam was appointed Executive Director of San Francisco Early Music Society, which manages the festival. Since 2010, EMA has been proud to bring together college and university ensembles throughout North America to per- form at the nation’s leading early music festivals in Berkeley, CA, Bloomington, IN, and Boston, MA. 2020 Festival Ensembles include: Davis Senior High School Baroque Ensemble – Davis, CA Early Music Youth Academy – Seattle, WA Juilliard415 – New York, NY McGill University Baroque Orchestra – Montréal, QC San Francisco Conservatory of Music Baroque Ensemble – San Francisco, CA San Francisco Conservatory of Music Youth Baroque – San Francisco, CA Tonos del Sur (Indiana University) – Bloomington, IN This year, many concerts, over eight days, sample the great University of Southern California Thornton wealth and power of our musical heritage—works from the Baroque Sinfonia – Los Angeles, CA Middle Ages, Renaissance, Baroque, Classical and Romantic eras—performed by some of their most passionate and Begun in 2018, the Emerging Artists Showcase goes beyond powerful exponents, from across America and abroad. the university level already represented by the Young Performers Festival to serve the broadest possible range of artists. The term Be sure to check out this year’s Exhibition and Marketplace, “emerging artist” can include historically-informed performers a three-day bazaar featuring dozens of makers and sellers of of all types, without respect to age. Applicants are asked to historical instruments, music scores, books and paraphernalia, describe how they see the future of historical performance tak- as well as abundant information of interest to all who love ing shape, and to define how their role as artists and ensembles early music. aligns with that future vision. Applicants submitting programs When there are no mainstage concerts scheduled, BFX venues that move beyond the traditional Western classical canon, but are alive with the dynamic BFX Fringe Festival: lectures, master that fall within the same historical range (to c.1820), are classes, performances by professional and non-professional encouraged to apply. ensembles (many including recorders) with creative and inter- 2020 Showcase Artists and Ensembles are: esting programs. These events are great bargains—and often full of surprises. Gili Loftus: fortepiano – Montréal, QC L.A. Camerata: dir. Marylin Winkle – Los Angeles, CA Don’t miss the ARS Great Recorder Relay Concert featuring Lyracle: Ashley Mulcahy, James Perretta – Boston, MA talented recorder performers—date to be announced. Drop in Trobár: Allison Monroe, Elena Mullins, Karin Weston – at the ARS table at the exhibition to say hello, renew your Cleveland, OH membership, see what’s new with the ARS, and find answers to questions you may have about the organization for our Contact: David Wood, 801 Vinial Street, Suite 300, noble instrument. Pittsburgh, PA 15212; 412-642-2778; [email protected]; Contact: Stacey Helley, Administrator, SFEMS, www.earlymusicamerica.org/resources/ www.berkeleyfestival.org P.O. Box 10151, Berkeley, CA 94709; young-performers-festival
www.AmericanRecorder.org Spring 2020 15 Indianapolis Early Music Festival Virginia Baroque Performance Academy Indianapolis, IN Harrisonburg, VA June-July concerts June 14-20 Indianapolis Early Music (IEM) is America’s oldest continuous Director and Faculty: TBA presenter of early music. Established in 1966 as a not-for-profit This intimate workshop is designed to give participants organization to enrich, educate and entertain audiences with hands-on experience in Baroque technique and interpretation the music of Medieval, Renaissance, Baroque and early through master classes and coaching sessions. Players of all Classical eras, IEM is chiefly known for its annual four-week levels are welcome in this five-day Baroque immersion course. summer early music festival, this year with a free pre-season Both period and modern instruments are welcome, pitch concert: will be at 415 and 440. Solo practice time will be available May 3—S’amusant: Wade Davis, ’cello, for all participants. Patrick Merrill, harpsichord Contact: 1200 Park Road, Harrisonburg, VA 22802; June 12—Sonnambula, Ensemble-in-Residence at 540-432-4652; [email protected], New York’s Metropolitan Museum of Art’s Cloisters Museum www.svbachfestival.org/baroque June 14— Singapore-based Red Dot Baroque ( June 13 Free Family Concert) San Francisco Early Music Society June 26—Musica Pacifica Returns! Judy Linsenberg, Baroque Workshop (ARS) Ingrid Matthews, Friends ( June 27 Free Family Concert) First Congregational and First Presbyterian Church, June 28—Les Canards Chantants: a semi-staged production Berkeley, CA of Italian madrigals with lutenist Charles Weaver June 14-20 July 10—Grammy winner Aaron Sheehan with Nigel North: Directors: Linda Pearse, artistic (also sackbut faculty); English Song from Dowland to Purcell Paulina Francisco, administrative July 12—2020 Indianapolis International Baroque Faculty: Cléa Galhano, recorder; Kathie Stewart, traverso; Competition, presented by IEM and IndyBaroque Bruce Dickey, cornetto; Anna Marsh, bassoon, dulcian; Contact: 317-577-9731; [email protected], http://iemusic.org Kathryn Montoya, oboe; David Wilson, violin; 16 Spring 2020 American Recorder At the 2018 Berkeley relatively unknown repertoire. Festival,Glen Shannon Music-making at the French court and Barbara Prescott in the late-17th and early-18th cen- made videos of turies spurred developments with the ARS Great wind and string instruments that Recorder Relay, had far-reaching effects on later which can Baroque repertoires. The controlled be viewed at and increasingly codified use of www.youtube.com/ ornamentation and connection with americanrecordermag dance movements opens the door for participants to hone their skills and familiarity with later Baroque styles as they explore music by composers such as François Couperin, J.S. Bach, G.F. Handel and others. Recorder players, oboe players, bas- Workshops and events carrying ARS designation in their descriptions soonists, violinists, singers, flautists, have joined the ARS as Partner Members. Other shorter workshops gambists, ’cellists, keyboardists, lute- may be sponsored periodically through the year by ARS chapters nists will be challenged and encour- and other presenters, and are listed in the calendar portion of aged by engaged and internationally each ARS Newsletter, as well as on the ARS web site, recognized faculty. when information becomes available. Contact: Linda Pearse, Paulina Francisco, SFEMS, P.O. Box 10151, Do you have a favorite workshop experience? Post your thoughts Berkeley, CA 94709; 510-528-1725; at www.facebook.com/groups/americanrecordersociety. [email protected], www.sfems.org Wendy Gillespie, viola da gamba; Alexa Haynes-Pilon, ’cello, viola da gamba; Nigel North, lute, theorbo; Rita Lilly, Mountainside Baroque Summer Academy Aaron Sheehan, voice; Peter Sykes, harpsichord, organ June 15-19 17th-century Music in Bohemia, Slovakia, St. Paul’s Lutheran Church, Cumberland, MD and Poland Courtly Music-Making in 18th-century France Director: Lyle Nordstrom The turmoil of the Thirty Years War (1618–48)—marked in Faculty: Sarah Lynn, recorder, flute; Brandi Berry, Czech lands by the defenestration of Prague—and the later Maria Romero Ramos, violin; Arnie Tanimoto, ’cello, viola da forced Catholicization of Bohemians and Moravians of the gamba; Marc Bellassai, harpsichord; Jason Dovel, trumpet; 1660s bookend a remarkable time of musical influence. Rebecca Beasley, voice, chamber music from the 17th A period of intense musical output was linked inextricably and 18th centuries to extreme social and political upheaval, the latter holding Part of MountainAire: Brushstrokes and Baroque Festival, significant consequences for musical practices. Mountainside Baroque Summer Academy is a workshop for The Catholic successors replaced exiled or executed Protestant middle school, high school and early college students using nobility with a new German Catholic nobility who eagerly Baroque music as a way of exploring music and musicality. imported Italian musicians and musical styles into Hapsburg Students participate in orchestra and chamber ensembles as lands, particularly at wealthy courts in Austria (Vienna), well as private lessons. Students will also have access to Bohemia and Moravia. The war’s impact was felt in the Festival concerts and master classes. Hanseatic League as well. The Italian influence in Poland and Register online at the web site. Scholarships are available. also in Slovakia will be explored in the music of composers such as Ján Šimbracky, Nicolaus Zangius, Andreas Hakenberger, Contact: Lyle Nordstrom, 10108 Ore Banks Dr., LaVale, MD [email protected] Crato Bütner, Johannes Wanning, Adam Jarzębski, and Mikolaj 21502; 301-338-2940; , www.mountainsidebaroque.org Zielenski. In the 17th-century area of the workshop, singers, cornetto, sackbuts, recorders, violinists, viols, ’cellists and keyboardists will discover and revel in stunning works of this
www.AmericanRecorder.org Spring 2020 17 San Francisco Early Music Society Oberlin Baroque Performance Institute Music Discovery Workshop and Oberlin College, Oberlin, OH Youth Collegium (ARS) June 21-July 5 Pacific Boychoir Academy, Oakland, CA Director: Kenneth Slowik (also Baroque ’cello) June 15-20 Faculty: Michael Lynn, recorder, traverso; Marilyn McDonald, Director: Yuko Tanaka (also harpsichord) Baroque violin; Catharina Meints, Baroque ’cello, gamba; Faculty: Jonathon Hampton, vocal collegium director; David Mark Edwards, harpsichord Sego, instrumental collegium director, violin, viola; Vicki Bach and his Heritage Melin, recorder, flute; Farley Pearce, ’cello, viola da gamba; The Oberlin Baroque Performance Institute (BPI), the Jennifer Hobbs, arts & crafts; Jennifer Meller, period dance; premiere summer workshop focusing on Baroque instruments Adam Sussman, theater and voice, will mark its 48th year of preparing musicians to Baroque Spain and Zarzuela! perform some of the great works on period instruments. Learn Join us as we explore Baroque Spain in music, art, dance from faculty and resident artists, and participate in master and theater. Our project-based holistic workshop features classes, ensembles and student concerts to practice Baroque semi-private instruction for elementary, middle and high techniques and gain a greater appreciation of this unique school students. Music Discovery Workshop & Youth musical genre. Collegium, for intermediate to advanced students, is perhaps BPI is open to musicians of any level of experience on Baroque the only children’s workshop in the U.S. in which all partici- instruments or voice. You’ll be exposed to expert coaching, mas- pants take an Introduction to Viols class. ter classes, and opportunities to collaborate and perform with This year, in addition to the chamber music we will perform other musicians. our very own Zarzuela, a musical/theatrical genre very popular The session concludes with a student concert of music learned in Baroque Spain and still performed today. during the institute. Additionally, the Conservatory of Music Our renowned faculty members are specialists in historic has a large collection of instruments available to be used by performance and are very passionate about educating the participants. younger generation. Families are invited to attend our Friday Contact: Anna Hoffman, Oberlin Conservatory of Music Final Performance, made concert-ready in just five days. Summer Programs, 77 West College St., Oberlin, OH 44074; Contact: SFEMS, P.O. Box 10151, Berkeley, CA 94709; 440-775-8044; [email protected], 510-575-0644; [email protected], www.sfems.org www.oberlin.edu/summer Music in the Mountains Summer Festival Mountain Collegium Early Music & Folk Music Workshop (ARS) June 18-21 Various venues in Cumberland, MD Western Carolina University, Cullowhee, NC Co-directors: Lyle Nordstrom, Ryan Mullaney June 28-July 4 Part of MountainAire: Brushstrokes and Baroque Festival, this Director: Jody Miller four-day festival in the Historic City of Cumberland, MD, Faculty: Gwyn Roberts, Anne Timberlake, Pat Petersen, is held in conjunction with Mountainside Baroque and the Phil Hollar, Valerie Austin, Chris Armijo, others; 11th Maryland Plein Air Festival Competition. Concerts are: special guest Lee Knight “Grand Tour of European Courts” Mountain Collegium celebrates its 49th year. It is one of the (Washington Cornett & Sackbutt Ensemble) largest weeklong workshops in the country, offering diverse “Looking East, Looking West” (Alba Consort) classes for recorders, viols, capped and open reeds, and brass. “What Bach Heard” (ACRONYM) Mainly a Renaissance and Baroque music workshop, there are “Venetian Vespers under Cavalli” (Mountainside Baroque) offerings for Shape Note singing, folk music, Sephardic music, “Beethoven and Beyond” (West End Fortepiano Trio) and large group playing. “The Heavens Laugh–Festive Bach” (Gala Final Concert) This year’s special guest will be renowned folk musician Lee Online purchase available, for either a Festival pass or Knight, whose roots are in folk music of the Adirondacks. individual concerts Knight has recorded with Yo-Yo Ma and the Kronos Quartet. Contact: Lyle Nordstrom, 10108 Ore Banks Dr., LaVale, MD Contact: Jody Miller, 1029 Hedge Lane, Marietta, GA 30066; [email protected] 21502; 301-338-2940; [email protected], 404-314-1891; , www.mountainsidebaroque.org www.mountaincollegium.org
18 Spring 2020 American Recorder www.AmericanRecorder.org Spring 2020 19 San Francisco Early Music Society Renaissance ensembles; voice master class (song interpretation); Medieval & Renaissance Workshop (ARS) vocal technique; dance; Feldenkrais; commedia del arte; music St. Albert’s Priory, history; percussion. Oakland, CA Contact: Matthias Maute and Marie-Nathalie Lacoursière, July 5-11 85 Chemin CAMMAC, Harrington, QC J8G 2T2 Director: Adam Gilbert CANADA; 888-622-8755; 819-687-3938, 819-687-3323 fax; Faculty: Adam Bregman, [email protected], winds, brass; Adam Gilbert, http://cammac.ca/en/make-music Rotem Gilbert, recorder, collegium; Bianca Hall, Amherst Early Music Festival (ARS) assistant director, voice; Connecticut College, New London, CT Karen Clark, voice; July 5-12 and/or July 12-19 Malachai Komanoff Director: Frances Blaker Bandy, viola da gamba; Recorder faculty, both weeks: Letitia Berlin, Frances Blaker, David Morris, viol, voices Eric Haas, Valerie Horst, Patricia Petersen, Wendy Powers Madrigali e laudi spirituali: Madrigals and Songs of Praise Week I recorder/wind faculty: Rainer Beckmann, Saskia Coolen, Join us as we explore Italian madrigals, laudi spirituali, Héloïse Degrugillier, Na’ama Lion, Daphna Mor, Gwyn and canti carnascialeschi! Roberts, Jennifer Streeter, Han Tol Week II recorder/wind faculty: Aldo Abreu, Deborah Booth, Our concerts and classes will feature trecento madrigals of Karen Cook, Sarah Jeffery, Alison Melville, Nina Stern Francesco Landini and his contemporaries, sacred processional songs from the Laudario di Cortona and Florence Laudario, Music of the German Lands 16th-century Italian madrigals from Arcadelt to Vecchi, and The Amherst Early Music (AEM) Festival is a workshop processional songs from Serafino Razzi’s 1563 Libro primo di offering the largest program of classes for early music enthusi- laudi spirituali. We won’t forget to add a spicy dose of carnival asts, from amateur to professional, in the U.S. The Central songs from Medici Florence, madrigal comedies, popular Program is the heart of the Festival, with classes available for dances, improvisation over ground bass melodies, and English most early music instruments, and music ranging from madrigals. Medieval to Baroque. In the evening there are lectures, concerts, In addition to a busy schedule of four classes per day, the work- madrigal singing in the courtyard, English country dancing, shop offers nightly events, including an evening lecture, and drop-in playing Recorder concerts by students, faculty and a visiting ensemble. sessions, the player at AEM Auction, Amherst Contact: SFEMS, P.O. Box 10151, Berkeley, CA 94709; and socializing [email protected] Early 510-575-0644; , with early music www.sfems.org Music enthusiasts from Festival CAMMAC Early Music Week all over the world. Lake MacDonald Music Center, Harrington, QC CANADA In addition to July 5-12 the Central Directors: Matthias Maute, Marie-Nathalie Lacoursière Program, AEM Recorder faculty: Matthias Maute; others TBA; offers several special workshops with The Gesualdo Six, rising stars in auditioned Great Britain’s vocal scene programs for This is always one of CAMMAC’s most popular weeks. Some recorder players, of the most respected early music specialists in Canada will be including the teaching—so don’t miss a great opportunity to explore and Advanced Recorder Intensive ( July 5-12, directed by savor this glorious repertoire. It will be a wonderful and rich Letitia Berlin), Baroque Academy ( July 5-12, directed musical experience for singers and instrumentalists alike. by Saskia Coolen), and the Virtuoso Recorder Seminar Main choral works: Magnificat by J.S. Bach & ( July 12-19, directed by Alison Melville). Te Deum by M.A. Charpentier Contact: Marilyn Boenau, 35 Webster Street, West Newton, Classes include choir; recorder (several levels); viola da gamba MA 02465; 781-488-3337; [email protected], (several levels); harpsichord; small ensembles; Medieval and www.amherstearlymusic.org 20 Spring 2020 American Recorder San Francisco Early Music Society Recorder Workshops (ARS) St. Albert’s Priory, Oakland, CA July 12-18 and/or July 19-25 Directors: Rotem Gilbert, Hanneke van Proosdij (both also faculty, both weeks) Additional Faculty: Week I : Miyo Aoki, Vicki Boeckman, Rotem Gilbert, Andrew Levy (Hanneke van Proosdij, recorder orchestra director) Week II : Rainer Beckman, Jennifer Carpenter, Katherine Heater, Daphna Mor (Rotem Gilbert, recorder orchestra director) Madison Early Music Festival Save the dates in your calendars for two University of Wisconsin, Madison, WI weeks of Recorder Workshops! Pick your July 11-18 week, or come to both! Fill your days Directors: Cheryl Bensman-Rowe, Sarah Marty, Paul Rowe with recorder ensembles, technique, Faculty: TBA Renaissance consort, recorder orchestra, The Good, the Bold, and the Fearless: Musical Life at the Burgundian Court master classes, concerts, lectures and more. Explore Medieval, Renaissance, Learn about late-14th- and 15th-century culture and music by Franco-Flemish Baroque, Contemporary and World composers, supported by generous patrons of the arts, the Dukes of Burgundy. Music in an intimate setting with world- Workshop classes occupy five days of the Festival, with offerings ranging from class faculty. Develop your recorder tech- beginner-level instruction to advanced master classes and consorts. nique and ensemble skills in an inspiring Contact: Arts Institute, University of Wisconsin-Madison, 321 Lathrop Hall, and supportive atmosphere. We welcome 1050 University Ave., Madison, WI 53706; 608-890-1118; [email protected], an international faculty of magnificent www.madisonearlymusic.org performers and charismatic teachers. Classes are offered for intermediate and Recorder at the Clearing advanced players, amateurs and profes- The Clearing, Ellison Bay, WI sionals, ensemble players and soloists, July 12-18 conductors and music teachers. Bring Director: Pat Badger your ensemble and be guaranteed a daily The Clearing is a folk school founded in 1935 by landscape architect Jens Jensen group class (minimum of five players). (1860-1951). This “school of the soil” is nestled within 128 acres of Door County Directors Rotem Gilbert and Hanneke forests and meadows and overlooks the dramatic Green Bay shoreline. It was built van Proosdij will bring you two weeks as a place where ordinary people could, as the name implies, “clear one’s mind” by of intense playing, listening and learning reconnecting with nature and with one another. in a supportive and social environment. Recorder ensemble is a longtime Clearing tradition. The week’s focus is on group SFEMS Recorder Workshop playing, with morning, afternoon and evening sessions. Daytime sessions center Session I: New Beginnings— on rhythmic challenges, recorder technique and ensemble blend. Evening sessions Music for Births, Coronations and Weddings feature lighter fare, ranging from Renaissance to jazz. The class emphasis is on The Recorder Orchestra will explore growth, process and, most of all, enjoyment. glorious music written for births, Contact: Kathy Swanson,The Clearing, P.O. Box 65, Ellison Bay, WI 54210; coronations and weddings—music by 920-854-4088; [email protected], www.theclearing.org Dufay, Gombert, Handel, Mouton and Sören Sieg.
www.AmericanRecorder.org Spring 2020 21 SFEMS Recorder Workshop Session II: From Discord to Concord San Francisco Early Music Society “All who delight to hear harmony’s blending of parts Classical Workshop for Strings (ARS) Should in themselves accord, joined in harmonious hearts. School of the Madeleine, St. Mary Magdalen, Berkeley, CA Small things grow in the presence of concord, July 13-18 Great things fall at the coming of discord.” Directors: Kati Kyme, William Skeen Michael Praetorius, Syntagma Musicum II (1620) Faculty: New Esterházy Quartet (Kati Kyme, Lisa Weiss, violin; Inspired by Michael Praetorius’s 400-year-old poem about Anthony Martin, violin, viola; William Skeen, ’cello) the effects of discord and concord in music on our lives, the Happy Birthday, Ludwig! SFEMS Recorder Orchestra will explore discordant sounds from the late-14th-century ars subtilior style, as well as the We will feature duos, trios, quartets and quintets by Beethoven sounds of melodious parallel thirds introduced by John to celebrate the 250th anniversary of his birth. We welcome Dunstable in the 15th century and emulated by many others. musicians at all levels who play on Classical winds (A=430) We will also explore the harsh chromaticism and clashing and gut-strung strings. polyphony of the 16th-century madrigalists in Ferrara— The Classical Workshop is America’s only workshop dedicated which depicted the anger, isolation, suffering and pain of to late-18th-century performance practice. We meet for one the humanist poetry of the era—as well as the peaceful week in July to explore string chamber music of the Classical concords of Michael Praetorius’s early-17th-century era. Morning and afternoon coaching sessions by the New German works. Esterházy Quartet are followed each evening by informal Contact: SFEMS, P.O. Box 10151, Berkeley, CA 94709; performances of the day’s repertoire. Private instruction and colloquia on bowing and fingering complement our 510-575-0644; [email protected], www.sfems.org program. The workshop invites string players of all ages and abilities. Pre-formed ensembles are welcome too. Contact: SFEMS, P.O. Box 10151, Berkeley, CA 94709; 510-575-0644; [email protected], www.sfems.org
22 Spring 2020 American Recorder Boxwood Canada music and dance, regardless of your musical background. Lunenburg, NS CANADA Professionals and amateurs alike are welcome at Boxwood, July 19-25 where the focus is on community building and making music Director: Chris Norman together. Faculty: Jean Michel Veillon, Breton flute; Paul McGrattan, Coming to us from across Canada, Ireland, Scotland, America Irish flute, whistle; Tara Diamond, Irish flute; Rod Garnett, and Japan, this year’s group of artists will inspire, astound and pan flute, gamelan, flutes; Alexa Raine-Wright, Baroque flute, challenge the way you think about music. recorder; Hatao, Japanese, Celtic & Nordic flutes; Adrianne Contact: www.boxwood.org Greenbaum, Klezmer; Nicholas Williams, Québécois flute, accordion; Chris Norman, flutes, small pipes; Pascal Gemme, Chris Norman at Boxwood Canada French Canadian fiddle, foot percussion; Dermy Diamond, Irish & Old-time fiddle; Yann Falquet, DADGAD-tuned guitar, French Canadian song; Michel Angers, theorbo, lute, guitar; Ailie Robertson, Celtic harp, composition; Edel Fox, Irish concertina; Nick Gareiss, percussive dance; Nick Halley, percussion, rhythm, keyboards; Shelley Phillips, oboe, Children’s Program With programs for adults, teens and children, Boxwood brings together world-renowned artists to share their love of tradi- tional and early music and dance in the beautiful UNESCO heritage site of Old Town Lunenburg in Nova Scotia, Canada. A life-altering week of performances, sessions, hands-on learn- ing, and social dancing, Boxwood gives you, our participants, a chance to delve deeper into your love of traditional and early
www.AmericanRecorder.org Spring 2020 23 Mideast Workshop (ARS) Early Music Week La Roche College, Pittsburgh, PA at Pinewoods July 26-August 1 Director: Marilyn Carlson Faculty: Marilyn Carlson, Stew Carter, Ellen Delahanty, Geert van Gele, Eric Haas, Daniel Mallon, Chris Ramsey, Christina Rua Technique classes at all levels. Large and small ensembles. Your choice of classes on various early music topics. English Country Dance. Begin a new instrument. Improve current skills. All facilities are air-conditioned. Comfortable accommodations located on a small college campus. Contact: Marilyn Carlson, 1008 Afton Road, Columbus, OH 43221-1680; 614-330-6605; Recorder Summer School [email protected], www.earlymusicmideast.org Bishop Burton College, Bishop Burton, near Beverley, East Yorkshire UK August 1-8 Directors: Marion Scott, Helen Hooker Faculty: TBA A week of recorder playing for players of all levels. Classes include technique, recorder orchestras, ensemble playing, master classes and much more. The Recorder Summer School is a large course, with up to 125 students and eight tutors. The atmosphere is always friendly and encouraging. We welcome recorder players at all levels from elementary to advanced. All students must be familiar with both C and F instruments. Players should be over 18 years of age (or 16, if accompanied by an adult course mem- ber). Although many of the players are from the UK, in recent years we have welcomed players from America, Australia, Germany, Hong Kong, Norway, The Netherlands, Spain and Israel. We hope that you will enjoy find- ing out more by browsing our web site. Contact: Josée Beeson, course adminis- trator, 3 Astwick Manor, Coopers Green Lane, Hatfield, Herts, AL10 9BP UK; +44-07711-307105; [email protected], 761 N. Cherokee Rd, Suite C, Social Circle, GA 30025 www.recordersummerschool.org.uk
24 Spring 2020 American Recorder Country Dance and Song Renaissance and Baroque; and bring Formal classes are broken up with pot- Society Early Music Week us together through music and dance. luck meals and spontaneous jam sessions at Pinewoods Camp (ARS) We offer coached consorts at all levels during breaks. Participants can also sign Pinewoods Camp, Plymouth, MA for recorders, viols, voices, louds up for private lessons. The weekend cul- August 15-22 (Renaissance reeds and brass); plus minates Sunday as we sight-read and Director: Emily O’Brien flute, harp, and of course English perform magnificent early Masses. Faculty: Héloïse Degrugillier, Dan Country Dance for everyone. A maximum of about 30 participants Meyers, Anne Timberlake, Anney The week also offers Accademia, an can take part. Barrett, Michael Barrett, Frances Fitch, intensive program of High Renaissance Contact: Susan Schwartz, Sarah Mead, Ellen Tepper, Lisa Terry Ensembles for advanced voices, viol and 226 E. Fifth St., Bloomsburg PA 17815; Epics and Odysseys wind players with strong sight-reading 570-441-2774; [email protected], skills (16th-century viols and recorders https://sites.google.com/site/ Journey to another time with music that provided for student use). bloomearlymusicworkshop tells a story and evokes distant lands in a universal language. Our epic will explore Contact: Steve Howe, Crispin Youngberg, CDSS, 116 Pleasant St., Road Scholar National music with mythological connections; Recorder/Early Music travel the different regional styles of the Suite 345, Easthampton, MA 01027- 2759; 413-203-5467; [email protected], Workshop www.cdss.org/em Hidden Valley Music Seminars, Next Level Recorder Carmel Valley, CA Retreat Southeast October 25-31 and/or November 1-7 Director: Letitia Berlin Shrine Mont Conference Center, Week 1 Faculty: Letitia Berlin, recorder; Orkney Springs, VA Frances Blaker, recorder, orchestra; August 23-28 Lawrence Lipnik, recorder, viola da Directors/faculty: Letitia Berlin, gamba; David Morris, viola da gamba; Frances Blaker Shira Kammen, early strings, Medieval Climb to the Next Level! Take intensive and Traditional repertoire technique, ensemble skills and musician- Week 2 Faculty: Letitia Berlin, recorder, ship classes to gain skills to improve dulcian consort coach; Frances Blaker, your playing. recorder, orchestra; others TBA Contact: Tish Berlin, 806 Washington Revel in the lyrical sounds of the Ave., Albany, CA 94706; 510-882-1169; recorder, viola da gamba and harpsichord [email protected], as you share your musical gifts during a www.tibiaduo.com week-long intensive early music work- shop. Enhance your skills in small Bloomsburg Early classes taught by expert instructors with Music Workshop emphasis on improving technique and playing with ensembles. At Hidden St. Matthew Lutheran Church, Valley Music Seminars, An Institute of 123 Market St., Bloomsburg, PA the Arts, nestled amongst oak and buck- September 4-6 eye trees below majestic hillsides, enjoy Director/organizer: Susan Schwartz a serene and inspiring place for playing Faculty: Lisle Kulbach, music. This program is for intermediate Lawrence Lipnik, Jody Miller to advanced recorder and viola da gamba Enjoy a weekend of early music in players. Week 2 includes dulcian and a historic church in a scenic small shawm. Pennsylvania town! Singers, recorders, Contact: Peter Meckel, P.O. Box 116, viols and lutes will get together to fill Carmel Valley, CA 93924; the church with music—there will be 831-659-3115; also playing opportunities for [email protected], Renaissance reeds and brass! www.roadscholar.org/6254 www.AmericanRecorder.org Spring 2020 25 Recording Reviews ______Music leading us to Bach, ______and from the End of the Middle Ages
Reviewed by Tom Bickley, [email protected], http://tigergarage.org Piffaro gathers music Back Before Bach Piffaro In its new CD, , from the middle of the gathers music from the middle of the 15th century to the early 18th century as a tour of the European 15th century to the early musicscape from which the work of J.S. Bach sprang. The 38 tracks are grouped into seven sections, each 18th century as a tour of focused on a significant melody or musical concept. the European musicscape Thanks to the wise decision to make the CD booklet available online, readers can access the details from which the work of each of the sections. The groupings work well to of J.S. Bach sprang. segment the variety of music on this disc, and I find listening to the music in these sections more satisfying than trying to take in the disc as a whole. recording). That list constitutes a tuto- Most of the tracks provide quite a big ensemble sound, with the richness of rial on their choice of instruments for timbres and musicality we’ve come to expect from Piffaro. The “pied pipers” of this repertory. early music offer ensemble arrangements rich in the sounds of recorders and other Each of the seven sections has its winds in their concerts performed all over the Americas and Europe. Popular at charms. Joan Kimball’s arrangement workshops, they have received two awards from Early Music America for their of the “T’Andernac” melody makes an education activities. In June 2015, the ARS honored Piffaro with its ideal prologue to the four well-loved Distinguished Achievement Award. settings of that tune, ones in which The booklet provides details of the instruments and performers on each track modern ears are naturally drawn to the (as does their YouTube video mentioned in the summary information for this feisty rhythmic figurations rather than Back Before Bach: musical journeys. Piffaro: the original melody. The two sets of The Renaissance Band (Joan Kimball, co-director, shawm, German dances by familiar composers recorder, dulcian, bagpipes, krumhorn; Robert Wiemken, such as Michael Praetorius (1571- co-director, dulcian, shawm, recorder, krumhorn, douçaine, 1621) and Samuel Scheidt (1587- percussion; Grant Herreid, lute, guitar, shawm, recorder, 1654) sound great as large, brightly percussion; Priscilla Herreid, shawm, recorder, dulcian, orchestrated pieces. krumhorn; Greg Ingles, sackbut, recorder, krumhorn; The chromatic focus of the music Christa Patton, shawm, schalmei, harp, bagpipes, krumhorn; on tracks 25-29 merits close attention, guest artists: Adam Bregman, sackbut, recorder; Daphna as it brings to our attention often over- Mor, recorder; Mack Ramsey, sackbut, recorder; Erik looked repertory. Most ear-catching for me were the various settings of Schmalz, sackbut). 2017, 1 CD, 61:00. Navona Records NV6106. the tunes “Christ Ist Erstanden,” www.arkivmusic.com/classical/Name/Johann-Ghro/Composer/488477-1, “Innsbruck, Ich muss dich Lassen,” CD $14.99 + S&H; https://smile.amazon.com, CD $14.16, mp3 download and “A Solis Ortus.” $8.99, and Amazon Music streaming; mp3 downloads from www.iTunes.com, The recording brings out the $9.99, and Apple Music streaming, www.apple.com/music; available via Spotify, ensemble sound beautifully. The audio https://open.spotify.com/album/3fhT2nqsn5qzUdbJADsTIo. Booklet and quality of the streaming tracks is quite additional material available at www.navonarecords.com/catalog/nv6106; good—and, given the availability of the co-directors Joan Kimball and Robert Wiemken discuss the program booklet online, most listeners will be and instruments, and perform some of the music, in a 2013 preview at very pleased with the streaming or https://youtu.be/A_u8MPnZAW0. download versions of this recording.
26 Spring 2020 American Recorder Piffaro American Recorder Society Publications devotes a Musical Editions from the Members’ Library: great deal Additional hard copies may be ordered: ARS Members, $3; non-members, $5 (including U.S. postage). of energy Please ask about discounts for multiple copies. ARS Members may also download at the ARS web site. Algunos lugares 1 (A solo) Marcelo Milchberg LeClercq’s Air (SATB) Richard E. Wood to histori- Arioso and Jazzy Rondo (AB) Carolyn Peskin Little Girl Skipping and Alouette et al cally Ascendance (SATB) Bruce Sankey (SATBcB) Timothy R. Walsh Belmont Street Bergamasca (ATB) Sean Nolan Los Pastores (S/AAA/T + perc) informed Berceuse–Fantaisie (SATB) Jean Boivert Virginia N. Ebinger, arr. Blues Canzonetta (SATTB) Steve Marshall Lullaby (AATB) and Cake Walk (SATB) from perfor- Bruckner’s Ave Maria (SSATTBB) Suite for Recorder Quartet Hildegard Erle mance Jennifer W. Lehmann, arr. Many Recorders Playing with Class (var.) Canon for 4 Basses (BBBB) David P. Ruhl Bradford Wright practice, and the results are always Closing Hour (TBgB) Victor Eijkhout Mere Bagatelle IV (AAA/T) Anthony St. Pierre Ensemble Rosaces Dancers (AT) Richard Eastman New Rounds on Old Rhymes (4 var.) Erich Katz impressive. takes a Danse de Village (SAB) Kevin Holland Nostalgium (SATB) Jean Harrod different approach, yet one that is also Danse from Primodal Episodes (SATB) Nottasonata No. 1 (SATB) Daniel Thrower John Winiarz Other Quips (ATBB) Stephan Chandler very engaging and musically satisfying. Different Quips (AATB) Stephan Chandler Poinciana Rag (SATB) Laurie G. Alberts Aurora Eightieth Anniversary Edition: Gloria Santa Barbara Suite (SS/AA/T) Erich Katz The repertory on (Cousins) and Of All the Birds (Ravenscroft) Sentimental Songs (SATB) David Goldstein, arr. consurgens is anchored in works (three SAT/B recs) Jennifer W. Lehmann, arr. Serie (AA) Frederic Palmer Elegy for Recorder Quartet (SATB) Slow Dance with Doubles (2 x SATB) by Medieval Italian composer Matteo Carolyn Peskin Colin Sterne Elizabethan Delights (SAA/TB) Sonata da Chiesa (SATB) Ann McKinley da Perugia (fl. 1400-1416) with addi- Jennifer W. Lehmann, arr. S-O-S (SATB) Anthony St. Pierre Faded Memories/Opus 88 (ATBB/SATB) 3 Balkan Line Dances (SATB) Emilie George, arr. tional compositions by his rough con- William Ruthenberg they danced by the light of the moon temporary Paolo di Firenze (c.1355- Fallen Leaves Fugal Fantasy (SATB) (SAA/T) joseph wilcox Dominic Bohbot Three Bantam Ballads (TB) Ann McKinley c.1436), French composer Guillaume Far and Away (TTB) Jeannette Bertles Three Cleveland Scenes (SAT) Carolyn Peskin Four Airs from “The Beggar’s Opera” (SATB) Three Dutch Folktunes from Hollantse Boeren- de Machaut (c.1300 -1377), Flemish Kearney Smith, arr. lieties en Contredansen (SAAT/AAAA/ATTB) composer Johannes Ciconia (c.1370- Gigue (SATB) Thomas Van Dahm Victor Eijkhout Gloria in Excelsis (TTTB) Robert Cowper Three in Five (AAB) Karl A. Stetson 1412), and ensemble member Michel He Talks, She Talks (AT) Bruce Perkins Tracings in the Snow in Central Park (SAT) Havana Rhubarb Rhumba (SATB up to Robert W. Butts Zebracki. Doneyan, Khayati and 7 players) Keith Terrett Trios for Recorders (var.) George T. Bachmann Zebracki perform these scores as Idyll (ATB) Stan McDaniel Triptych (AAT/B) Peter A. Ramsey Imitations (AA) Laurie G. Alberts Two Bach Trios (SAB) William Long, arr. lovingly developed improvisatory In Memory of Andrew (ATB) David Goldstein Two Brahms Lieder (SATB) In Memory of David Goldstein (SATB) Thomas E. Van Dahm, arr. treatments, creating elegant textures Will Ayton Variations on “Drmeš” (SATB) Martha Bishop and extensions of the notated material. Jay’s Pyramid Scheme (SATB) Jay Kreuzer Vintage Burgundy (S/AS/ATT) Lament for a Butterfly (SATgB) Sheli Nan Jennifer W. Lehmann, arr. They explain their methods on Lay Your Shadow on the Sundials (TBgB) Western Union (ATBgB) Peter Dixon Terry Winter Owens Woodland Whimsy (SATB) Gary Betts their web site and in the booklet: Leaves in the River (Autumn) (SATB) ZIP Code Boogie (SATB) Charlotte Van Ryswyk “Far from any historical reconstruc- Erik Pearson tion, the Ensemble Rosaces … tries to Education Publications Available Online and Free to Members The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). appropriate the swan song of an era, Guidebook to the ARS Personal Study Program (1996). creating connections with the modern ARS Music Lists. Graded list of solos, ensembles, and method books. ARS Information Booklets: music through its rhythmic wealth, Adding Percussion to Medieval and Renaissance Music Peggy Monroe American Recorder Music Constance Primus great polyphonic freedom, its latitude Burgundian Court & Its Music Judith Whaley, coord. for improvisation.” The title of the Improve Your Consort Skills Susan Carduelis Music for Mixed Ensembles Jennifer W. Lehmann CD is that of a 15th-century alchem Playing Music for the Dance Louise Austin ical treatise attributed to Thomas Recorder Care Scott Paterson Aquinas. Ensemble Rosaces members Videos Available Online to All describe more about their approach Recorder Power! Educational video from the ARS and recorder virtuoso John Tyson. An exciting https://youtu.be/ resource about teaching recorder to young students. in this video: Pete Rose. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival gY4o9Xc_56k. recital, playing a variety of music and interviewed by ARS member professional John Tyson. Recorderist Gayané Doneyan Other Publications Chapter Handbook. A free online resource on chapter operations for current chapter leaders or brings her experience in Medieval those considering forming an ARS chapter. repertory, particularly the ars subtilior, Consort Handbook. Available online and free to members. Resource on consort topics such as group interaction, rehearsing, repertoire, performing. to bear in both the notated and Membership Directory (published twice per year, for members only) $8 improvised aspects of this recording. Shipping & Handling Fees: Under $10 - add $3; $10-19.99 - add $4; $20-29.99 - add $5; $30-39.99 - add $6; Her work with her trio Palma Ociosa $40-49.99 - add $7. All prices are in U.S. dollars. For Canadian/foreign postage, pay by credit card; actual postage is charged. Please make checks payable to ARS. VISA/MC/AMEX/Disc also accepted. on 14th-century Cypriot music can be See www.AmericanRecorder.org for complete publication offerings. heard at https://palmaociosa.wixsite. com/palmaociosa/vido ARS, P. O. Box 480054, Charlotte, NC 28269-5300 . tollfree 1-844-509-1422 t 866-773-1538 fax t [email protected]
www.AmericanRecorder.org Spring 2020 27 This recording demonstrates that it is possible to bring musicians from diverse backgrounds together in a project, without the single aesthetic or genre ... overwhelming.
Aurora consurgens – improvisations, alchimie et Doneyan employs extended tech- divertissement sur la musique de la fin du Moyen-Age. niques of singing while playing, and Ensemble Rosaces (Gayané Doneyan, recorders; Alice also the technique of simultaneously Khayati, voice; Michel Zebracki, guitars). 2019, 1 CD, 66:00. playing two recorders (see https:// Da Vinci Classics C00165. https://davinci-edition.com/product/c00165, youtu.be/jhRImV2glUA). She uses the abt. $14.40 + S&H; CD available from https://smile.amazon.com, $19.72 + Rafi tenor recorder (www.livirghi.com/ S&H; other online dealers may carry this CD; mp3 downloads from iTunes, renaissance/rafi-recorders), made by www.iTunes.com, $10.99; available via YouTube: www.youtube.com/ Francesco Li Virghi after recorders playlist?list=OLAK5uy_nxF6rC6cM5r3aQbS1-Y57a1sYJPHXFMqQ, and Spotify, crafted by the Rafi family of French https://open.spotify.com/album/3MNXJ9QE0Jo7Q3HMKGX5rC; further infor- makers in the 1500s. mation, https://duorosaces.wixsite.com/musique; videos of recording sessions, Guitarist Zebracki plays a modern www.youtube.com/channel/UCkLPnEdE1QXw8w6gOTiau4g/videos. instrument and has a strong back- ground in jazz. He has arranged the music on this recording and contrib- uted one composition, the closing track, Venus. He notes that Medieval polyphony is “an inexhaustible gold mine,” which he respectfully regards in the same way he does the repertory of jazz standards. Zebracki and Doneyan form the recorder/guitar duo Duo Rosaces— and, with the addition of Khayati, become Ensemble Rosaces. Alice Khayati, voice, is an opera singer with some background in the study of recorder (with French virtuoso Pierre Hamon). This recording demonstrates that it is possible to bring musicians from diverse backgrounds together in a project, without the single aesthetic or genre of each individual overwhelming the core of the chosen compositions. The CD booklet includes a pas- sage of text by Matteo da Perugia writ- ing about his own aesthetic wrestling. The entire booklet unfortunately isn’t available online, but a portion is avail- able from the Da Vinci Publishing site (https://davinci-edition.com/product/ c00165) . As good as the sound quality of the CD is (very well recorded by Massimo Marchese at the Castello di Morsasco), I think the download and streaming options are good choices. Using whatever medium, I encourage you to listen to this recording.
28 Spring 2020 American Recorder The Recorder in the Streams Part II: Music Streaming Services Following on the article in the Winter 2019 AR, By Tom Bickley “The Recorder in the Streams Part I: Unboxing YouTube,” Part II describes and discusses various American Recorder Recording Reviews Editor Tom Bickley free and subscription-based streaming services of is a recorder player/composer/teacher in Berkeley, CA. interest to recorder players. As noted in the introduc- He grew up in Houston, TX; studied in Washington, D.C. tion to Part I, the changing nature of the internet (recorder with the late Scott Reiss, musicology with Ruth Steiner, and these services means that some of this informa- and listening/composition with Pauline Oliveros); and came to tion will be dated by the time you read this. California as a composer-in-residence at Mills College. Nevertheless, my hope is that this effort will encour- age both greater access and demand for recorder A frequent workshop faculty member and leader at chapter meetings, music on these various platforms, as well as increase he teaches recorder at the Bay Area Center for Waldorf Teacher Training; participation by our community of recorder players Deep Listening for Rensselaer Polytechnic Institute; and is on the faculty in the social media aspects. as Performing Arts Librarian at California State University East Bay. He performs with Three Trapped Tigers (with recorder player David Barnett), Gusty Winds May Exist (with shakuhachi player Nancy How did we get here? Beckman) and directs the Cornelius Cardew Choir. What is a music streaming service? A useful and general definition of a music As a performer on the ARS Great Recorder Relay during the 2018 Berkeley streaming service is that it provides music for Festival and Exhibition, his efforts are posted on the ARS YouTube channel listening online. The proliferation of relatively at www.youtube.com/americanrecordermag. His work can also be fast connections to the internet, combined with heard at https://soundcloud.com/tom-bickley, and is available technological advances, makes it possible to on CD on Koberecs, Quarterstick and Metatron Press. Visit his web site at access music online through computer, tablet, https://tigergarage.org. smartphone, smartspeaker, etc., via a connection to the internet or a cellular data provider. Music streaming services sometimes allow download- ing of content (for instance, saving an audio recording), but the emphasis is on listening rather than downloading. The services that stream music are a subset of other streaming media services, such as Netflix, Hulu, etc. From a long view of technological history, music streaming services are a present-day manifestation of the modes of recording and reproducing the sound of music. In that cate- gory over years past are music boxes, player pianos, barrel organs, radio, etc. With the development of an infrastructure of electrical service in the early part of the 20th century came research and development for pro- viding music to businesses and homes. Wireless broadcast media was one eventual outgrowth. Another was sending music and other audio content over wires to subscribers. www.AmericanRecorder.org Spring 2020 29 This can be traced to the work of Thaddeus Cahill and his Telharmonium (left, introduced in 1906, which employed rotary genera- tors to produce alternating electric waveforms, telephone receivers to con- vert the electric waveforms into sound, and a network of wires to distribute “Telharmonic Music” to subscribers). More information on the history of these technologies is available in vari- ous books and articles, among them Mark Coleman’s book Playback: from the Victrola to MP3, 100 years of music, machines, and money (Da Capo Press, 2003, 2005). Given the commercial forces driving the development and content choices of music streaming services, it’s not surprising that classical music makes up a fairly small part of the rep- ertory available, and recorder music a smaller part of that. I acknowledge that not all recorder music falls into the “classical” category, but that is where we need to look for the bulk of our repertory: Handel sonatas, Sammartini concertos, etc. The Wikipedia article on Music Streaming Services lists 32 currently active, and 28 discontinued, https://en. wikipedia.org/wiki/Comparison_of_on-demand_music_streaming_services. Among the myriad options for music streaming, this article focuses on ones that may be of interest to recorder players, rather than a comprehensive survey.
Listening to recorder music online Numerous broadcast radio stations and services (both terrestrial stations and satel- lite radio) are available online. Generally access is available at no cost, other than your time listening to commercials. Some are from government-sponsored radio services, while others are independent providers. One service of direct relevance to the recorder world is www.recorder-radio. com provided by Kunath recorder makers. Greta Haug-Hryciw wrote a detailed description of this service in September 2016 in her article, “Discover Recorder- radio.com” for the e-mag ARS NOVA (the link entitled “Recorder Radio 24/7!” at https://americanrecorder.org/ars_nova_e-mag_archive.php). The stream includes a bracingly wide variety of recorder music with only occasional (and recorder- centric) commercials. A Jetzt kaufen (buy now) button on the playlist (song his- tory) link allows listeners to purchase recordings from http://Blockfloetenshop.de. Listening directly from the web site requires the latest version of Adobe Flash (available free for computers, but it does not work with Apple’s iOS on iPhones and iPads); you’ll find links to listen via iTunes/Music, Winamp, and other applications. The streaming rate is a standard 128 kbps—not high fidelity, but 30 Spring 2020 American Recorder This service is well described by the user interface is better in Naxos, but functional in both. Users of college, conservatory and university libraries likely will find access to performance videos in the larger banner in German, Feinkost für die Alexander Street Press holdings. All users may wish to explore the Open Music Library Ohren (Delicatessen for the Ears). (OML) project, another initiative of Alexander Street Press at https://openmusiclibrary.org. The OML purpose is to listenable. This service is well described by the banner in aggregate music content from both licensed and open German, Feinkost für die Ohren (Delicatessen for the Ears). sources. When I connect my university credential to OML, Many government-sponsored and community radio I can access material to which my campus subscribes, as well stations are available online, and many have classical music as publicly available online information. But, limiting my streams. While recorder music is not the mainstay of any of search results to “Open Access Only” still returns a wealth them, recorder recordings and sometime live performances of material when I search for recorder. The open access are found. I recommend exploring various stations to expand to audio-only recordings is slowly growing, but OML is a www.classical.net/music/links/ your own music horizons; marvelous resource for finding videos of performances from radio.php has a helpful, though not comprehensive, list. a variety of open access services. Within the iTunes application is access to Internet Radio (organized by genre)— and though the Internet Radio list is no longer available in the new Music application in Mac OS Catalina, the Music application will play streams such as www.recorder-radio.com.
Streaming recorder music from your public or college library Those of us in the field of music librarianship (including former ARS President Public libraries often have additional services that Alan Karass, noted author/editor David Lasocki, and this allow users to download a recording for a certain loan period. author, as well as others in the recorder community) work Two in wide use are Hoopla, www.hoopladigital.com, and diligently to open access to music via recordings as well as Freegal, www.freegalmusic.com. Some libraries no longer scores, books and articles. Many public library systems, as purchase music CDs for lending, but instead subscribe on well as academic libraries, in the U.S. use their funding to behalf of patrons to such streaming services. Check with provide their library users with access to streaming music your own public library for information. services. For recorder music, two of the best services are the Naxos Music Library at www.naxosmusiclibrary.com and Music Online from Alexander Street Press, https://alexanderstreet.com. Both of these services allow searching by instrument and/or performer/ensemble as well as composer and title. (Please note that you may have to be persistent and creative in your searches, on any of the online services; like any other online search, multiple parameters may have to be used before you find what you seek.) Both Naxos and Music Online provide good fidelity streaming, and access to the CD booklet in PDF form. The
www.AmericanRecorder.org Spring 2020 31 Tiered Services Paid subscribers Streaming services like Spotify (www.spotify.com), Bandcamp (https://bandcamp. com), Pandora (http://pandora.com) and SoundCloud (https://soundcloud. listen commercial-free com)—as well as the newcomer Idagio (www.idagio.com/us) and a number of others—offer a tiered model in which some access is provided at no charge, other than listening to commercials. Paid subscribers listen commercial-free or have or have download download options for audio tracks or albums. In terms of content providers, Spotify and Idagio differ markedly from Bandcamp and SoundCloud. options for audio Puzzlingly touted by Time Magazine as one of 2019’s Best Inventions is Idagio. This German company began in 2015 and focuses on classical music exclusively. Perhaps this emphasis is the rationale for Time Magazine’s praise, tracks or albums. and classical content is what distinguishes Idagio from other services. In its favor, it has titles from Warner Classics, Deutsche Grammophon and Sony Classical labels (encompassing many companies such as ECM, Decca, Philips and Erato). This is the place to go to find a known item, like Walter von Hauwe on his Little Consort’s 2007 CD re-release of Italian Chamber Music of the Seicento. However, booklets and details are not available on Idagio, and the searching and browsing functions are sorely in need of improvement. Compared to Naxos Music Library’s richness of content and its interface design that is functional and attractive, Idagio falls very short of the mark. Free access requires registration and is ad-driven. Another oddity is that the Mac OS Idagio standalone app stops playing the previously selected album after each commercial. Idagio Premium subscribers pay $9.99/month for ad-free and higher quality audio. Idagio is available on the web, as a standalone app for Mac and Windows, and as a mobile app.
32 Spring 2020 American Recorder Spotify Founded in 2006, beginning, before the requested audio With each track a user (www.spotify.com) is an international is played. Pandora began in Oakland, company headquartered in Sweden. CA, in the early 2000s in the Music selects on Pandora, Listeners access Spotify content via Genome Project, which created a webplayer (https://open.spotify.com), detailed categorization for each track and optionally rates a standalone application for Mac or with the intention of serving up to its Windows, or a mobile app for tablets listeners pieces that fit their listener (like or dislike), the and smartphones. profiles. It remains their core technol- Use of Spotify requires registering ogy: with each track a user selects on algorithms gain detail for a free account. The free account Pandora, and optionally rates (like or with which to recommend empowers you to search and play spe- dislike), the algorithms gain data with cific tracks or albums in the webplayer which to recommend music to that lis- music to that listener. or computer application, interrupted tener. This manifests in a listener’s abil- occasionally by commercials. On the ity to create “radio stations” within mobile app a free user can search for an Pandora that would stream music of artist or song, but can only hear those interest to that listener, related to a as part of a shuffle-play option. particular artist or genre. The strength of Spotify is in the Curiously, given its detailed index- use of the webplayer or computer ing of tracks, the search function in application to play a specific track or Pandora is a basic keyword search album. Through its arrangements with (rather like a Google search). One can a large network of recorded music dis- get some relevant results searching on tributors, Spotify streams more than recorder, but searching for an artist/ 50 million tracks to well over 300 mil- ensemble/composer yields results that lion listeners. are much more satisfying. The downsides of Spotify are its The Pandora content is fairly deep lack of detailed search options (a search for classical music, but not exceptional for recorder gets not only the instru- for recordings of the recorder repertory. ment but also all groups/titles with Pandora can be accessed via the web or recorder in their name, such as the a mobile app. Pandora Plus includes ambient music project Sunshine ad-free and unlimited skips of tracks Recorder); complete absence of book- for $4.99/month, whereas Pandora lets or notes; annoying commercials Premium includes those benefits as that are particularly problematic in well as making and sharing of playlists long tracks; and ongoing concerns about the amount of royalties Spotify pays to artists. Partly to address the last point, they have launched Spotify for Artists. Premium plans begin with three months free, and are Individual Honeysuckle Music ($9.99/month), Family ($14.99/month Recorders & accessories for up to six accounts), or Student ... ($4.99/month including Hulu and Showtime). Free access streaming is Music for recorders & viols at 128 kbps, whereas paid access gains Jean Allison Olson the better quality of 320 kbps. 1604 Portland Ave. Pandora (http://pandora.com) St. Paul, MN 55104 differs from Spotify in the way it 651.644.8545 delivers ads to free listeners. In Pandora [email protected] the advertisement tends to come at the
www.AmericanRecorder.org Spring 2020 33 SoundCloud ... is a remarkable service that is built upon artists uploading their own tracks. Best use of this service is not to find a new commercial release, but rather to access less commercial work.
for $9.99/month. Discounts are available through Family ($14.99/month), Student ($4.99/month Premium), and Military ($7.99/month Premium) plans. (Sirius XM purchased Pandora in February 2019. Sirius XM has one “classical” channel, with very little air time for recorder music, and one opera channel.) SoundCloud (https://soundcloud.com), founded in 2007 and based in Berlin, Germany, is a remarkable service that is built upon artists uploading their own tracks, which are freely available for listening. Unlike Spotify (and Idagio), where artists are required to go through distributors in order to place tracks on that ser- vice, SoundCloud makes it very easy for an independent artist to upload music. Free registration is required for uploading and for posting comments on tracks. SoundCloud has a distinct social media aspect that appeals to many. Monthly users are estimated to number 176 million. Free access is interrupted by commercials. Listeners can subscribe to SoundCloud Go ($4.99/month ad-free, with capability of saving of some tracks for offline listening) or SoundCloud Go+ ($9.99/month ad-free, unlimited saving of tracks, higher quality audio, and access to commercially-released content). Artists can upload six hours of recordings for free, but with SoundCloud Pro Unlimited at $12/month, artists have unlimited upload time, higher quality audio, richer statistics tracking, and a discount on SoundCloud Go+. SoundCloud does not offer sophisticated search options. Best use of this service is not to find a new commercial release, but rather to access less commercial work. Many composer/performers as well as ensembles post material on SoundCloud; you can hear music by recorder artists such as Suzanne Froelich (https://soundcloud.com/susannefroehlich-recorder), Ensemble Plenum (https://soundcloud.com/ensemble-plenum), Ernesto Schmied (https://soundcloud.com/ernestoschmied) and many others, including my own efforts (https://soundcloud.com/tom-bickley). I find SoundCloud a pleasure to use and I look forward to hearing your work there. Access is provided via the SoundCloud web site or their mobile app. Bandcamp (https://bandcamp.com), begun in 2008 in Oakland, CA, provides artists with a platform to upload tracks, and sell (at prices set by each An important social networking feature of BandCamp (as on SoundCloud) is the ability of content providers to tag tracks and albums with terms of their own devising. This categorization is known as folksonomy and helps listeners locate music they wish to hear.
34 Spring 2020 American Recorder The good news is that many fine recordings of recorder music are available via streaming services.... The best streaming service I’ve found is that of the Naxos Music Library. artist/ensemble) those tracks as downloads, with an option the advantages and disadvantages of the iTunes/Apple for other merchandise. Essentially each artist on BandCamp Music music store: a lot of content is there, including creates an online store. recorder music (for instance, the 1967 Gustav Leonhardt In most cases, the artist allows listeners to stream music recording on Das Alte Werk label of J.S. Bach’s Cantata 106 at no charge, and to purchase downloads at a minimum price with Frans Brüggen)—but the search feature is functional (with an option to contribute more). For example, the 2013 only for artist/ensemble names or album titles. album Corelli by 4 Times Baroque (a German ensemble Subscriptions are $9.99/month discounted to $99 for with recorder player Jan Nigges) allows listeners to “Buy a year, or $14.99/month for a family license (works with Digital Album for €10 or more” (just over $11) . For that iCloud sharing) or $4.99/month for a student license. price, one can download the recording in MP3 format (at a Qobuz (www.qobuz.com/us-en/discover) was launched good 320 kbps quality) or FLAC, WAV, AIFF and other in France in 2004 and offers CD quality streaming as its much higher quality formats. Some artists allow subscrip- base level Studio subscription ($14.99/month), with up to tions to a series of releases. Listeners can use the Bandcamp 192 kHz/24 bit resolution streams in its Hi-Res Audio web site or mobile app. option ($249/year). The interface is attractive and the sound An important social networking feature of BandCamp quality impressive; however the content and searching (as on SoundCloud) is the ability of content providers to tag options exhibit the same difficulties of other primarily tracks and albums with terms of their own devising. This pop-oriented services. The information in the credits link is categorization is known as a folksonomy and helps listeners useful, and occasionally the contents of the CD booklet are locate music they wish to hear. Searching on recorder, then available. clicking on “Music tagged with ‘recorder’,” returns 150+ Tidal, dating from 2014, is a Norwegian company that results, most of which have something to do with our offers streaming via web site as well as desktop and mobile musical instrument, the recorder. Searching for a specific apps. From the front end, one might think that only com- artist (for instance, Canadian composer/recorderist mercial pop was available, but digging into the search feature, Terri Hron) works nicely. and searching for recorder, reveals a reasonable number of Bandcamp began as a way for independent alt rock tracks of recorder music, from the usual suspects (for musicians to distribute their work and has expanded to instance, David Munrow) to curious (an album titled Songs include a cross-section of classical music as well. Unsung by the duo Recorder & Bass). Searching is as awk- ward as with most other services, and the service lacks pro- Subscription only services gram notes (even the credits link provides almost useless Some services rely on subscribing listeners—those willing to information for classical music). pay a monthly fee to access their holdings. This commercial A significant positive aspect of Tidal is its disclosure of objective contrasts sharply with the approach of the services fee and income distribution (see “Where do my monthly discussed earlier, and this heavily influences the services’ subscription fees go?” in https://tidal.com/whatistidal). Tidal content. offers subscription levels—Premium is $9.99/month; HiFi Amazon Music Unlimited (www.amazon.com/music/ is $19.99/month, the latter offering CD quality streaming. unlimited) is a streaming service from this giant online An upcoming feature is a Tidal Masters option, which will retailer. The search feature is the customarily poor interface, typically provide 96kHz/24 bit streams. designed to work for general commercial music rather than the classical genre. Content is not as deep as the other ser- Coda vices that include content from major labels. The cost is This survey of selected music streaming services leads me to $7.99/month or $79/year for the individual plan, or $14.99/ a few insights. The good news is that many fine recordings month or $149/year for the family plan (up to six members). of recorder music are available via streaming services. The It is available via the web or mobile app. bad news is that, with the exception of Naxos Music Library, Apple Music (www.apple.com/music) is the subscription the listener’s ability to access those recordings is severely service accessible via iTunes or the Apple Music app. It has hampered by poor searching features.
www.AmericanRecorder.org Spring 2020 35 To keep access to both that to a portable format for listening outside of my studio. Naxos and Recorder-radio My recommendations are two-fold: the best streaming service I’ve found is that of Naxos Music will require advocacy of Library. Consult your public or campus funding for library services library regarding access to that service. Second, take advantage of the plus patronage of “delicatessen for the ears” that is www.recorder-radio.com and enjoy the www.blockfloetenshop.de. shuffle-play/jukebox approach that Jo and Silke Kunath provide for us there. To keep access to both Naxos and Recorder-radio will require advocacy of funding A further important difficulty for library services plus patronage of www.blockfloetenshop.de and the Kunath with these services is the lack of access recorder shop. to booklets/notes for the recordings, If you are not able to access Naxos Music Library or Alexander Street Press, except in the cases of Naxos, Alexander certainly explore the content on Pandora, Spotify and Idagio, with the subscrip- Street Press and, for some releases, tion-only services as last resorts. For performers wishing to place their recordings Apple Music. Those difficulties indi- in the public ear, but not deal with traditional commercial distribution, make use cate to me that the era of music of SoundCloud and Bandcamp, and post notices about those releases to the distributed via compact disc is ARS Facebook page at www.facebook.com/groups/americanrecordersociety. not completely over, and that recorder If you know of other streaming and downloading services you have found players wishing to reach the widest helpful for recorder music, please let me know. This is a changing environment possible market will be wise to release and we benefit from sharing our knowledge. music in formats including both download/streaming and disc. I do Some links of interest wish my new car had a CD player, but • CNET’s review of Spotify, Pandora and Apple Music: www.cnet.com/how-to/ the audio quality of a disc packaged best-music-streaming-service-of-2019-spotify-pandora-apple-music with good explanatory notes is well • The Wikipedia article about streaming media: worth the task of having to transfer https://en.wikipedia.org/wiki/Streaming_media 36 Spring 2020 American Recorder Education ______Should I use a thumb rest?
By Gustavo de Francisco, São Paulo, Brazil In my experience, a thumb rest is really Many people ask about the correct position for a recorder thumb rest, its use, and how can it change your technique. In this needed to play the big instruments, such article, I will discuss and clarify these issues.
To use a thumb rest as the tenor, bass and larger recorders. or not to use one? From the start, people may be uncertain: some people feel Another advantage is the fixed position of the right the need to use a thumb rest, while others can’t get used to it. hand, which remains anchored by the location of the thumb. The recorder is a lightweight instrument when compared If we put the thumb rest in the optimal position, our right with other woodwinds, like the oboe or clarinet, and because hand will be well situated, and thus it will be very relaxed. of that the thumb rest is not really necessary in all instru- Without a rest, players frequently use the little finger to ments of the recorder family. This leads to the discussion of hold or balance the recorder on notes where that finger whether or not to use a thumb rest. is not needed. This practice makes technique more difficult, In my experience, a thumb rest is really needed to play and creates undesirable tension in the right hand. the big instruments, such as the tenor, bass and larger record- ers. On the alto, its use is optional, but often I use it. On the soprano, its use is not really necessary—although it’s easy to find very cheap thumb rests that fit on the soprano, and even on the alto and tenor. These do not require the player to make any major changes on the instrument, such as gluing or drilling. Instead, you just clip the thumb rest on the instru- ment in a position that provides support for the right hand, and it’s ready to use. Some benefits of using thumb rests are: • Good support for the instrument, which prevents the thumb from slipping • Better balance for the instrument • Fixed position for the right hand • Right hand more relaxed • Freedom for the little finger. The main reason to use a thumb rest is to securely sup- port the instrument. When the recorder is too slick, or in cases of people with very dry or very sweaty hands, the recorder has a tendency to slip. The thumb rest helps to avoid this. Besides providing support, the thumb rest improves balance. The recorder must be balanced between just two points: the bottom lip and the right thumb. All the other fingers are able to move freely in order to open and close the holes. When we have good support for the instrument, we enable our mind to focus just on the music, rather than on the fingers.
www.AmericanRecorder.org Spring 2020 37 Hand position Setting the height In any discussion about using a thumb of the thumb rest rest, it is also important to mention the The rest must be between holes position and shape of the hands. When 4 and 5; the exact placement depends the hand position is not optimum, the on where the player feels most com- technique will be compromised. fortable. For many, this is closer to The ideal position is one in which: hole 4. For the larger instruments, • the arms are adequately supported, especially for a person with small hands without tension in the shoulders or and arms, a better positioning may be arms slightly lower than expected, because • each hand, shaped like a loose fist, we need to compensate for the way a is aligned directly with the arm big instrument rotates our hands. • fingers are slightly bent, shaping If the rest is too low or too high, the hand into a “C.” there probably will be too much To feel this relaxed hand position, tension on the hand, on the thumb, stand with your arms hanging loosely or on the ring and little fingers. beside your body. When you shake your arms and hands, you should feel your Important: tension can cause hands and fingers moving in a free and Repetitive Strain Injury! relaxed manner. This is how our hands We must try to avoid unwanted tension must feel while we play. because it can cause Repetitive Strain The holes of the recorder should Injury (RSI )—an injury to some part be closed with the roundest part of the of the musculoskeletal or nervous sys- fingers—not with the middle or the tip tem aggravated by repetitive use, vibra- of them. tions, compression or long periods of Also note that almost every player remaining in a static position. It is good plays with the left hand up, right hand to remember that the thumb rest alone below. The suggestions above about is not sufficient to avoid this kind of hand position apply to both hands— consequence. but the specifics about the thumb rest apply when the right hand is below. 38 Spring 2020 American Recorder What is really important is to
keep your hands relaxed when playing,
to keep good balance in your
positioning of the instrument,
and to keep it well supported.
Other possible solutions Another Besides using a thumb rest that just clips on when needed, solution is to like the ones shown above, we can use a piece of string or glue a piece ribbon looped around the foot joint, tied to the correct of cork or thumb height. This is a low-cost and easy solution. I know other mate- some recorder players who couldn’t adapt to using any kind rial on the of thumb rest, but who chose to use this method of support back side of instead. the recorder to use as a thumb rest. A low-tech way to create a thumb rest is to wrap a wide rubber band around the recorder barrel between holes 4 and 5. This mostly provides a friction point on which to anchor your thumb. A rubber band will eventually fall off as it disintegrates; just keep a spare one in your case. If you prefer not to use a rest or something that achieves the same result, this is certainly not a problem. What is really important is to keep your hands relaxed when playing, to keep good balance in your positioning of the instrument, and to keep it well supported. The thumb rest is just one available tool to help to achieve relaxed support and balance while playing. Gustavo de Francisco, artist, producer and teacher, founded the Quinta Essentia Recorder Quartet (http://5eofficial.com) in 2006. Based in Brazil, the group has toured several times world- wide (including U.S. tours of Wisconsin, Texas, Minnesota, Illinois, Iowa and California in 2016 and 2018); and released five albums: La Marca (2008), Falando Brasileiro (2013), Boismortier (EP single, 2017), The Art of Fugue (2017), and
Caboclo (2020). Photo: Heloisa Bortz Having completed Suzuki Recorder teacher training (2012), in May 2020 he will serve as the Recorder Coordinator at the Suzuki Association of the Americas Conference in Minneapolis, MN.
www.AmericanRecorder.org Spring 2020 39 Music ______Reviews ______Canons, fugues, sonatas, dances and ______chorales by the masters
10 SYMPHONIES, by Samuel Scheidt, ed. Ulrich Thieme. Each of these short works Girolamo G12.035 (www.girolamo.de/single/g12035E.html), 2014. SS/TT (or violins), ’cello/bassoon/B rec, bc. Sc 20 pp, 3 identical pts 12 pp ea. Abt. $26.75. is full of character, and the Ulrich Thieme’s extensive preface gives a very helpful background to these older style Symphonias pieces. The Halle organist Samuel Scheidt (1587-1654) had a difficult time during the Thirty Years’ War (which started in 1618 as a primarily Catholic/ are especially striking. Protestant conflict, then spread over all of Europe in a more general and widely destructive war ending in 1648)—as did many German composers, all of whom others are in a more modern (for the were forced to write for greatly reduced forces. In the case of his LXX Symphonien, time), lively concerto style. from which these 10 pieces are taken, it is likely that the current scoring of two While the only surviving source treble instruments, obbligato bass, and continuo is a short score version of music is missing the second treble part, originally written to feature larger forces. that was supplied in 1962 for the These are brief pieces probably intended to be used with larger works as Scheidt Complete Edition by its editors preludes and ritornellos. The complete LXX Symphonien is organized by key C. Mahrenholz and H. Keller. Their (C major, d minor, e, F, G, g, a) with 10 pieces in each key, while Thieme has very convincing work is reproduced chosen a cross-section that includes at least one piece in each key. Some pieces here with some small adjustments sug- are written in a more conservative, slower-moving contrapuntal style, while gested to accommodate the recorders. Each of these short works is full of character, and the older style Symphonias are especially striking with their slowly shifting dissonant harmo- nies. The collection is generally at an intermediate level, though a couple of pieces include rapid-note flourishes. The obbligato bass part is adaptable to the bass recorder, although it frequently goes below its range. The presentation is accurate and attractive. The three solo lines are printed together, but without page turns, and three copies of the part are provided. It might be hard to find a place for these brief works in a recital pro- gram, but they could certainly be enjoyed just as they are for informal playing. Scott Paterson, a former ARS Board member, teaches recorder and Baroque flute in the Toronto (ON) area. He has written on music for various publications for over 25 years, and now maintains his own studio after over 30 years at the Royal Conservatory of Music of Toronto. 40 Spring 2020 American Recorder to the large number of passages with low Eb, and the many The “Colla Voce” series issues high Baroque necessary alterations of the original line. Maybe two tenors music for voices and continuo that can also and contra bass would be a possibility? be played with the addition of instruments, The continuo part is a realized unfigured bass—in a or with instruments replacing the voices. very restrained realization with no Romantic flourishes, by another significant composer, Johannes Brahms. It would Italian Trio I, by G.F. Handel, ed. Vince Kelly; work fine on harpsichord. Using a gamba plus lute or theo- bc real. Johannes Brahms. Edition Walhall CV001- rbo are justifiable; I can imagine those instruments working 18008 (www.edition-walhall.de/en/Haendel-Georg-Friedrich- well with TTgB (cB) recorders playing the “vocal” lines. Italien-Trio-I.html), 2006 (reissue). 1-3 recs/insts/voices This charming, though unsurprising, piece requires (SSB/SST/TTgB), bc. Sc 8 pp, 6 pts 3-4 pp ea. Abt. $16.50. considerable thought before using it in an instrumental As recorder players we are comfortable with the notion performance. of playing vocal music instrumentally. However, this practice Contrapunctus III (The Art of Fugue), is usually limited to the Renaissance. by J.S. Bach, arr. Eric Haas. The “Colla Voce” series issues high Baroque music Peacock Press PEMS074 for voices and continuo that can also be played with the (www.recordermail.co.uk), 2000. SATB. Sc 4 pp, 4 pts 1 p ea. addition of instruments, or with instruments replacing the Abt. $6.50. voices. G.F. Handel’s Italian Trio I (no opus or HWV given) J.S. Bach’s music has long been considered the pinnacle is a single-movement composition with a time signature of polyphonic writing, and among his compositions, The Art change separating two blocks of text. of Fugue takes a special place. These 19 fugues and canons Although this version seems almost instrumental in its are all based on a single theme, which is elaborated in aim, the text is of course provided for the singers. The notes increasingly complicated ways: through inversion, diminu- include a translation of the text from Italian (no surprise, tion and augmentation, mirroring, and in double, triple and since Handel was in Italy when he wrote this trio), but no quadruple fugues. commentary on its musical character. It begins Se tu non One of the works that takes its musical subject through lasci amore (literally “If you don’t leave love”). the many contrapuntal possibilities (hence the name), The intended vocals are soprano I, soprano II, and Contrapunctus III is the third of the four “simple” fugues, and basso, the last probably intended for a baritone voice since it can be characterized as the most chromatic of these four. the range is quite high. The gap between the voices poses a Bach wrote the fugues of The Art of Fugue for four problem for recorder players. Do we play the top voices on voices (while the canons are for two voices), on four staves soprano instruments? in SATB, without further information to indicate on what Playing on soprano recorder means that the pitch instruments they should be performed. (However, they are sounds an octave higher than soprano singers, so it may not playable on a single keyboard instrument.) Consequently, be ideal for a “Colla Voce” performance. A performance with they have been arranged for, and played by, everything from only instruments is possible—but soprano recorders are typi- harpsichord to tuba quartet to symphony orchestra. cally not associated with music of the high Baroque, when While the lines in these fugues largely have a vocal the alto became the most popular recorder. character (some of the fugues in the Well-Tempered Klavier Alternatively, we could play the soprano parts on tenor are clearly intended to be played on a keyboard and would recorders, which would be in the correct octave. The parts be unsingable), they sometimes span a larger range than indeed comfortably fit a tenor recorder, being in a range would comfortably fit a human voice, or indeed a recorder. f'-g". However, the basso part then poses the next problem. Regularly a range of almost two octaves is called for, hitting The range of the bottom line runs almost two octaves both the weak low notes and strident high notes of the from low G, but is in general high for an F instrument. This recorder. Also, the voices are not limited to the standard edition gives an alternative version in treble clef that would vocal ranges of the SATB quartet. Thus, a realization for be playable on a C instrument. The most plausible solution recorders is not entirely straightforward. would then be to use a tenor, in case of soprano recorders Let’s consider what this means for this arrangement of on the top line, or a great bass with tenors (SST or TTgB). Contrapunctus III. First, while this arrangement specifies I found this latter combination uncomfortable to play, due SATB instruments, the arranger Eric Haas has kept the KEY: rec=recorder; S’o=sopranino; S=soprano; A=alto; T=tenor; B=bass; gB=great bass; cB=contra bass; Tr=treble; qrt=quartet; pf=piano; fwd= foreword; opt=optional; perc=percussion; pp=pages; sc=score; pt(s)=part(s); kbd=keyboard; bc=basso continuo; hc=harpsichord; P&H=postage/handling. Multiple reviews by one reviewer are followed by that reviewer’s name. Publica tions can be purchased from ARS Business Members, your local music store, or directly from some distributors. Please submit music and books for review to: 7770 S. High St., Centennial CO 80122 U.S., [email protected].
www.AmericanRecorder.org Spring 2020 41 original key, which means that the bass voice goes down to If you’re excited to play low D. Haas has indicated where to transpose a few notes an octave up. Using a great bass is also possible, as the top note of the bass part is C; this avoids octave transpositions. chamber music from about 1700, Next up, the tenor voice briefly dips below its bottom C, so its line is covered there by the bass voice. This is one of this is the piece for you! the trade-offs in arranging such music: the lines are unal- tered (and competent players can surely have the split lines SONATA IN C-DUR, by Gottfried Finger, flow seamlessly through the instruments), but it means the ed. Klaus Hofmann. Edition Walhall EW1049 bass enters the texture with a random fragment, rather than (www.stretta-music.com), 2018. A rec, oboe, violin, a fugal entry as music theory rules would require. bc (’cello, bassoon, viola da gamba or violone, with hc). Another artifact of arranged music is that in general the Sc 12 pp, 4 pts 3-4 pp ea. Abt. $16. voices are fairly high in the instruments; for instance, both If you’re excited to play chamber music from the soprano and alto lines play to the top end of their ranges, about 1700, this is the piece for you! but only go below sopranino/soprano reach respectively in The Moravian musician Gottfried Finger the last four measures of the piece. (c.1660-1730) spent time in England (at the court of Delving deeper into range considerations, the score James II) and the Germanic lands as a conductor, composer va specifies SATB, but the 8 markings indicate that the and virtuoso viola da gamba player. arranger actually had low choir SATB in mind. Playing with The Sonata in C major is a hypothetical reconstruction low choir (at what is usually referred to as eight-foot pitch, of a manuscript found in the Düben Collection at Uppsala https://myemail.constantcontact.com/Foot-Notes--Four-Foot-- University Library with call number Instr. Mus. I hs. 15:7. Eight-foot--Six-Foot-Pitch-Explained-.html?soid=11022858715 However, that version is in B major. According to the editor, 82&aid=4uk7NQa5hwE b ) should mitigate the high range of Klaus Hofmann, that version of the piece is for three violins the top voices. On the other hand, a couple of low D/E and basso continuo. Hofmann contends that Bb major is not notes will have to be transposed up to fit a contra bass, the original key, and that the smaller ranges of the upper two unless you happen to own a subgreat bass in C. parts probably indicate use of wind instruments. Taken as a recorder piece, independent of provenance, Hofmann presents his edition as a piece in C major for this is a rewarding composition to play. Bach is at his most alto recorder, oboe, violin and basso continuo. In place of the chromatic in this particular fugue. There are also many dis- oboe, the middle part would also work on tenor recorder, sonances of a moving line against a held note. Recorders can alto recorder, or traverso/flute. bring out such dissonances better than a harpsichord, but When I read this work with my friends, we utilized any quartet performing this will have to study the score to modern instruments: oboe, violin and ’cello along with alto identify places where they occur: it is easy to lose them if the recorder and harpsichord, all at A=440. The piece worked player with the held note ends it too quickly to take a breath. well there, and it would certainly work using period Breath can also be a problem since one might be (Baroque) instruments at your preferred pitch level. tempted to use a slow tempo to properly appreciate all The sonata is through-composed with contrasting fast the creative harmonies that Bach uses. and slow sections in various meters and tempos: Adagio, Score and parts are on the whole legibly typeset, but in Largo, Allegro, and so on. Textures vary throughout. There the parts there are too many places where ties collide with are moments for recorder, oboe and violin to shine alone, measure numbers—in one place, even an accidental is along with basso continuo, as well as duet and trio sections. printed right on top of a measure number. The continuo realization is stylish. There are a couple of This is a great composition by Bach, competently instances where the realized chord is simpler than what the arranged, and requiring only a solid intermediate level of figures indicate. There is also a figured bass part if your key- technique. Now it’s up to the players to get the work done board player prefers to use that. to make it sound musical. This is a piece where study and The recorder, oboe and violin parts are written practice will certainly pay off. in ranges that most players will find comfortable: the Victor Eijkhout resides in Austin, TX, where he plays wind parts for recorder and oboe/recorder (both f'-c'"), recorder in the early music ensemble The Austin Troubadours. and violin (b'-c'"). The multi-instrumentalist and composer has two titles in the This edition has sparse ornamentation and dynamic Members’ Library Editions. His other compositions can be found indications, allowing players to make these musical decisions at http://imslp.org/wiki/Category:Eijkhout,_Victor and you in rehearsal. This is a really charming piece, and I highly can support his work through www.patreon.com/FluteCore. recommend it.
42 Spring 2020 American Recorder CONCERTINO DA CAMERA, by Elizabeth Poston, ed. John trio. The outer movements are quick; Turner. Peacock Press PJT201 (www.recordermail.co.uk), 2018. A rec, oboe or they are built on a partnership between oboe d’amore, viola da gamba, hc. Sc 15 pp, 4 pts 4-5 pp ea. Abt. $14. harpsichord and viola da gamba— Composer Elizabeth Poston (1905-87) lived and worked in England, and sometimes continuo-team oriented was a talented harpsichordist. Encouraged by Peter Warlock and Ralph Vaughan and other times independent. Williams, she wrote a number of incidental pieces for BBC radio broadcasts, as While this may not be everyone’s well as compositions for prominent choral and instrumental ensembles. She was cup of tea, it is an important piece that especially fond of the recorder, and wrote and edited pieces for the Dolmetsch provides a glimpse of what the bur- Ensemble as well as works featuring recorder such as Peter Halfpenny’s Tunes for geoning early music scene was like in Recorder and Piano. the mid-20th century. Concertino da Camera is based on the fantasia Beauty by 16th-century Sarah Huebsch Schilling, D.M., is in composer Martin Peerson. Poston dedicated the work to her friend, the recorder demand as a period oboist, recorder player, player Marylin Wailes and her London Consort of period instruments. and performance practice specialist. She is The work appears in “The Contemporary Recorder” series, which is edited by Director of Outreach at Forgotten Clefs the eminent British recorder player John Turner. A recording of the Concertino (Renaissance Wind Band) and is the with Turner is available on the Prima Facie label (The Rose Tree, PFCD005). director of the early music workshop at Interlochen, MI. Though composed in 1957, the three-movement major work is apparently written for period instruments....it is very much a piece in its time... [and] provides a glimpse of what the burgeoning early music scene was like in the mid-20th century.
Though composed in 1957, the three-movement major work is apparently written for period instruments: alto recorder, Baroque oboe d’amore (or oboe), viola da gamba and harpsichord. While she utilizes period gestures, it is very much a piece in its time. A critic described it with the classic phrase of new wine poured successfully into old bottles. The Concertino was one that Poston chose when asked to lecture on the sub- ject of composition—a piece that she particularly wanted to leave in good shape in her final years, but apparently didn’t actually have a full copy herself. It was some time later that a full copy emerged and was given (by a circuitous route that included the widow of recorderist David Munrow) to Turner—who secured its publication and deposited the full copy with Poston’s papers in the British Library. Concertino da Camera fits the range of the aforementioned instruments, but some indications are not idiomatic for period winds and harpsichord—long slurs, f and p dynamics in wind parts without regard to range, and keyboard glissandos. The gamba part uncharacteristically avoids tenor clef—utilizing only treble and bass clef. The gamba part spans a range similar to The Division Viol (1659) of Christopher Simpson—making this part beyond consort playing range, but accessible to advanced amateur and professional players. I read this piece on alto recorder, modern oboe, gamba and harpsichord at A=440. Our keyboard player tells me that the harpsichord part felt more like a piano part than a harpsichord part—some techniques that were required aren’t possible on harpsichord. For example, there are long crescendos under slurs with- out allowance for adding additional notes, coupling, or a change in registration. We wonder if it were written for a specific mid-20th-century instrument no lon- ger readily available. There are beautiful moments in this mixed chamber music piece. The second movement, subtitled “Lullaby,” opens with an ascending solo figure for the gamba, traversing two octaves of open strings. Oboe and recorder then exchange a slow, lilting melody in 6/4 meter, gradually building to a recorder, oboe and gamba www.AmericanRecorder.org Spring 2020 43 MAZURKA, by Frédéric This is a short and cute piece, only 54 measures long. It vividly recreates the Chopin, arr. Hermann-Josef feel of a Chopin piano piece. It is clearly printed on a cream color heavy paper. Wilbert. Edition Walhall FEB030 There are short sections of divisi in the tenor (eight measures) and bass (www.edition-walhall.de/en), 2017. (four measures), so that an ensemble of six players or more can enjoy a more SATB. Sc 3 pp, pts 1 p ea. Abt. $8. complex sound. Frédéric François Chopin This mazurka is appropriate for intermediate level players, with the alto line (1810-49) was a Polish composer well playing up an octave. known for his solo piano pieces in the Romantic period of classical music. He MENUETT G-DUR, by Joseph Haydn, arr. Hermann-Josef was born and grew up in the Duchy of Wilbert. Edition Walhall FEB032 (www.edition-walhall.de/en), 2017. SATB. Warsaw. A child prodigy, he composed Sc 3 pp, pts 1 p ea. Abt. $8. his early works in Poland, then at age This transcription of the Minuet in G Major by Franz Joseph Haydn is 21 moved to Paris, France, where he representative of his style. It is simple and cute, but it is not the Minuet in G spent the rest of his life. His piano familiar to young piano students. works include mazurkas, waltzes, noc- Joseph Hayden (1732-1809) was an Austrian composer of the Classical turnes, polonaises, études, impromptus, period who was a leader in the development of chamber music and of the sym- scherzos, preludes and sonatas. phonic form. The very prolific composer wrote 107 symphonies, as well as 83 The arranger of this piece, string quartets, 45 piano trios, 62 piano sonatas, 14 masses and 26 operas, plus Hermann-Josef Wilbert, was born many other pieces. in 1933 and received a doctorate in Arranger Hermann-Josef Wilbert, born in 1933, has spent his musical career Mainz, Germany, in 1968. He was a in Germany, and has a number of titles published by Edition Walhall. professor of musicology in Saar This graceful menuett (or minuet) has four short sections that repeat. The brücken, Cologne and Frankfurt, first section opens with a theme and ends with a flourish. The second section Germany, until his retirement in 1998. begins with a new theme, then returns to the theme from the first section— This is the Mazurka in F Major, but with a different ending. Op. 68, No. 3, composed when Chopin The eight measures of the third section introduce a new theme, and the was 19 years old and published posthu- fourth section begins with yet another theme before returning to the theme from mously. It has the simple structure that the third section. Then a D.C. al Fine returns to the first section for another time might be used by a young composer. through, with the Fine at the end of the second section. It begins with all four parts playing There are some editorial mistakes. For example, measure 15 is missing the chords together in the same rhythm, opening repeat sign for the section that begins in that measure. Measure 60 is with the soprano recorder carrying the missing quarter-note rests in the lower three parts. The final measure of the alto tune. After that first section is repeated, part, which leads back to the opening measure, has the notes in the lower octave, a second theme is introduced before rather than the upper octave as at the beginning of the piece. returning to the original theme. The This minuet is a simple piece that would be appropriate for a low intermedi- tenor and bass bridge into the last sec- ate group. Both the alto and the tenor parts have a few measures with divisi notes, tion with steady quarter notes, followed which would be utilized when played by a larger group. by increasingly complex rhythms. The The arrangement also would be useful for a group of beginning recorder alto is added, and finally the soprano, players who are learning how to play together as a group. until the original theme returns. BACH CHORALES FOR RECORDERS AND VIOLS, by J. S. Bach, arr. Will Ayton. Allyon Wit Publications AWP0025 (https://allyonwit.com), 2017. SATB. Sc 239 pp. $28. These Bach chorales are transcribed for use by both recorder and viol players. The SATB transcriptions use the four-staff format and standard clefs familiar to players of those instruments. The primary source is 371 Harmonized Chorales and 69 Chorale Melodies with Figured Bass, edited by Albert Riemenschneider and published in 1941 by G. Schirmer. Ayton has selected 265 chorales for this publi- cation! Will Ayton was born in 1948 of missionary parents in China. He received a B.Mus.Ed from Shenandoah Conservatory of Music in Virginia, Master of Music Education from New England Conservatory of Music in Boston, MA, and
44 Spring 2020 American Recorder Since the chorales by Bach are the basis of so much Baroque literature, it was a pleasure to enjoy their simple charms. a Doctor of Musical Arts in Music Theory and Composition from Boston Duets include selections from University. He currently lives with his wife, Nancy, in Providence, RI. He is a Wolfgang Amadeus Mozart retired professor of music, and performs on the viola da gamba. (1756-91), Leopold Mozart (1719-87, This set is designed as a source book. Each chorale is in full score, fitting on father and teacher of his famous son one or two pages and ranging from 8-22 measures in length. It comes as a spiral- Wolfgang), Franz Xaver Wolfgang bound book, so that copies of individual pieces will need to be made for each per- Mozart (1791-1844, the youngest child former (or each person will need to purchase a full copy). The selections are of six born to Wolfgang and his wife arranged alphabetically by the name of the chorale in German. If Bach used the Constanze), plus two pieces chorale in different larger pieces with varying harmony or arrangement, the book by J.S. Bach (1685-1750) and Leopold includes more than one setting. Mozart’s contemporary Johann There are no texts and no BWV numbers, but many individual listings Adolph Hasse (1699-1783) that include the title of the particular cantata or major works in which that piece were arranged by Leopold. was used. There is an appendix that identifies which of three sources was used The books follow the usual for the arrangement. designs of Greenblatt and Seay edi- The music is clearly printed and easy to read on a heavy white paper, which tions. They are spiral-bound with the would be easy to copy as needed. table of contents displayed on the front The review group found this set of chorales to be fun to play, especially cover. They are clearly printed and easy when different versions could be played and compared to each other. Since the to read. There is a brief introduction chorales by Bach are the basis of so much Baroque literature, it was a pleasure to and a biography of Greenblatt at the enjoy their simple charms. end. With the need to make three copies of each chorale, so that each player could The arrangements are also typical have an individual copy, it is not a book to pull out for a casual playing session. of others done by Greenblatt. Soprano This would be an excellent resource for groups that perform in a church, and alto parts are in the same keys. As using the chorales as hymn tunes or larger pieces in which Bach used these I have noted in another review, the rea- chorales as his source. However, the chorales often have different rhythms from son for this is to permit the playing of the familiar hymn tunes, because their structure has not been regularized to fit both C and F instruments in the same a specific metrical pattern. Some planning to handle this would be necessary. ensemble (per an e-mail exchange with They are appropriate for intermediate level players. Deborah Greenblatt). The alto version Bruce Calvin started playing recorder in college some unspecified number of years is not always notated an octave up. ago, and has reviewed videos and books for professional library publications over the Instead some lines of individual works years. He and four others meet weekly in the Washington, D.C., area to play recorders. are written an octave up, while others The group enjoys Renaissance through contemporary music, performing occasionally for are notated at the same pitch as that special church events. found in the soprano edition. This The melodies are typically charming, as is characteristic makes for some rather unusual voice crossing and harmonies, some of which of the lighter music of this era. The duets are not difficult. are effective and others less so. Most of the tunes are of a moder- Mozart Family Duets For Alto Recorder. ate length (one page with repeats). Compiled/arr. Deborah Greenblatt. Greenblatt and Seay There are several very short works (www.greenblattandseay.com/home.shtml), 2019. Sc 62 pp. $15. (only two or three lines with repeats) Mozart Family Duets For Soprano Recorder. and a long piece entitled Variations on Compiled/arr. Deborah Greenblatt. Greenblatt and Seay “Aline” by Franz Mozart. The forms (www.greenblattandseay.com/home.shtml), 2019. Sc 62 pp. $15. include the polonaise, minuet, bourrée Deborah Greenblatt, who has been teaching, composing and performing and rondo, as well as a number of since 1971, is also a prolific arranger of a wide variety of tunes that range from unnamed duets that appear to be traditional early music to folk songs from diverse cultures. The Mozart Family taken from larger compositions.
www.AmericanRecorder.org Spring 2020 45 The melodies are typically charming, as is characteristic others, there are lines that are more and less challenging. of the lighter music of this era. The duets are not difficult— This is again a feature that speaks to groups with mixed and, while the arrangements are somewhat inconsistent in experience levels. terms of harmonic quality, the individual lines are mostly of I would recommend this edition for intermediate and equal musical interest. student groups, as it contains a wealth of material that is Overall the collection offers some pleasing additions to both musically charming and varied enough to offer some- the libraries of lower intermediate players who are fond of thing for all. It also might be interesting to groups that per- music from the early Classical era arranged for recorder. form, as the variety, simplicity and tuneful nature of the pieces would be suitable for certain concert occasions. Pastime with Good Company: Musik Aus England, arr. Monika Mandelartz. While the tarantella has often been Heinrichshofen & Noetzel N4538 (www.heinrichshofen.de/ en/sonstige/2369/pastime-with-good-company?number=4538 considered to have been danced as a ), cure for the toxic bite of a spider, ... Erich 2017. 3 recs (SAT). Sc 28 pp. Abt. $20. Monika Mandelartz studied recorder and harpsichord Schwandt states that tarantism ... was a at the Koninklijk Conservatory in The Hague, The Nether psychological disorder/form of hysteria. lands, and at academies in both Frankfurt and Bremen in Germany. Since 2000 she has been working with historical Tarantella: Musik Aus Italien, by harps and performs with a number of ensembles. She Monika Mandelartz. Heinrichshofen & Noetzel teaches recorder, historical harps, harpsichord and ensemble N4539 (www.edition-peters.com/product/tarantella/n4539), playing at the State Youth Music School in Hamburg, where 2017. SAT recs (various combinations). Sc 28 pp. Abt. $21. she is the head of the recorder department. She has also The tarantella, a folk dance that originated in the south published a number of sheet music editions. of Italy, takes its name from the city Taranto in Apulia. In the introductory notes to her edition, Pastime with While the tarantella has often been considered to have been Good Company, she explains that the selected tunes are danced as a cure for the toxic bite of a spider, in his article arrangements of 16th- and 17th-century English melodies, “Tarantella,” in Grove Online, Erich Schwandt states that many of which have deep roots in the folk tradition. tarantism (the extreme impulse to dance, often believed to Several—including The Queen’s Dolour and the Rigadoon result from the tarantula’s bite) was a psychological disorder/ by Henry Purcell, and the Saraband and Jig by Matthew form of hysteria that was prevalent in southern Italy from Locke—were originally composed for harpsichord. She the 15th to the 17th centuries. Over time, the tarantella has states that while the works contained in the volume are been transformed from a folk to a stylized courtship dance, sourced in early music, she has not especially adhered to and has also been incorporated into some art music. historical performance practice protocols and advises the In this volume, Tarantella, Monika Mandelartz arranges players to similarly experiment. dances taken from source material by Gaspar Sanz (1649- Altogether there are 18 tunes that have been arranged 1710), a Spanish priest and guitarist, and by Athanasius for various combinations of soprano, alto and tenor record- Kircher (1602-80), a German Jesuit and polymath with ers. The volume opens, unsurprisingly, with a nicely done, wide ranging interests. The edition contains eight tarantellas. mostly homophonic setting of Pastime with Good Company. Mandelartz explains in the introductory notes that It concludes with a canon on Come, Let us Have a Merry these arrangements include diminutions, transpositions, Heart by William Lawes. In addition to those already improvisations and different arrangements of the parts. The mentioned, some other inclusions are Robin, Sweet Robin, originals, with their sources, are given at the end of the book. Emperor of the Moon, MocDonogh’s Lamentation, Since ’tis This is a most interesting collection. The designated My Fate, Hunt the Squirrel, Fanny Dillon, and Jenny’s Whim. recorders are SAT, and they are used in a variety of different The edition is laid out well: no page turns and clear, combinations. Tarantella I comes from Gaspar Sanz and is readable printing. The collection is eminently suitable to an easier piece in 3/8 time that is primarily homophonic intermediate ensembles and students. Certain works are (some diminutions occur in the second voice at the end). done in the polyphonic style of the Baroque, while others are Tarantella II is another story altogether. The tenor line more chordal and thus more accessible to students or others initially states the tune (transposed), and then alternates with less experience in playing more complicated textures. between the theme and a series of diminutions. The top All pieces fit the comfortable ranges of the instruments, two parts are complex, with running 16th notes generally rhythms are not especially intricate, and there are minimal in homorhythmic patterns. chromatic additions. There are also no difficult keys. In some The third and fourth pieces combine more complex of the arrangements, the parts are relatively equal, while in writing with easier lines, and Tarantella V is again a 46 Spring 2020 American Recorder homophonic piece in 6/2 time—with Canonic Etudes for three Recorders, a metronome marking of the dotted arr. Adrian Wehlte. Edition Walhall Floeno 1440 whole note at 80-100, thus not as easy (www.edition-walhall.de/en/woodwind-/23-recorders/wehlte-adrian-canonic- to play as it might look at first glance. etudes.html), [2018]. AAB. Sc 26 pp, 2 pts 8 pp ea. Abt. $16.25. The sixth selection is also more While everyone knows a canon or two (London Bridge, Frère Jacques), accessible, with fewer extemporizations, recorder players are immediately reminded of the very clever canonical while the last two works again display sonatas for two altos by G.Ph. Telemann. Thus I had certain expectations quite a lot of elaborate constructions. when I opened Adrian Wehlte’s Kanonische Etüden. Overall, the dances are very One immediate difference is that Wehlte’s canons are for two altos plus appealing and a lot of fun to play. As a bass. However, the bigger difference is that these are not long-form composi- the editor states in the notes, they are tions as with Telemann, but short phrases that repeat through all the possible to be played as folk music and are thus keys. And I do mean all keys: the opening two preparatory studies traverse intended to be altered, ornamented and all 12 major and all 12 minor keys respectively, following the circle of fifths. supplemented with rhythmic instru- Of the next three canonic studies, only the first follows the circle of fifths. ments at the choice of the ensemble. The third alternates two sections, both of which go chromatically through They are accessible to intermedi- a sequence of keys. The second in this set of three canonic studies, while still ate players, but they require practice as going through the keys, is the least predictable. It uses an interesting scheme, opposed to sight-reading. It is helpful where chords gradually change, one or two notes at a time. It also has an appeal- that the rhythms are generally mirrored ing Spanish flamenco-like flavor that makes it a candidate for performance. in each part, or at least in two parts— Regarding performance, three out of the five selections in this volume suffer as opposed to more polyphonic settings from a rather obvious scheme of repeating one phrase around the circle of fifths. that are more difficult at the intermedi- Less obvious in this regard, the third one is written in “swing time,” but is musi- ate level. cally less convincing. Notes by Wehlte (in German) indicate that these pieces are The keys are not complex. Some primarily meant as study material, rather than for performance. Various scenarios lines reach to the upper registers of the are indicated, such as playing a piece with two students whose lessons overlap by instruments, but they are balanced by 15 minutes, the teacher playing the bass part. others that remain lower and which The Swiss-born recorder player Wehlte has transcribed and arranged many would thus be easier for less experi- works for Edition Walhall, and has published student methods for recorder. enced players to master. One could imagine using this to train students in transposition or knowledge The edition is very nicely pre- of the circle of fifths. Needless to say that the more obscure keys pose a serious sented. Metronome suggestions are reading and playing challenge. These require advanced players, or players willing included as are the sources. The print- to put in some work. ing is clear and even, fitting the space Parts for the altos are given, but the bass parts (which could be played on well. All but one can be played without tenor) are bound into the score. Typesetting is excellent. The composer’s notes page turns. in the back are very useful, but unfortunately only in German. I highly recommend this collec- Victor Eijkhout tion, which would be a unique and enjoyable addition to the libraries of both intermediate and more advanced ensembles. Beverly R. Lomer, Ph.D., is an inde- pendent scholar and recorder player whose special interests include performance from original notations and early women’s music—such as her current work on the transcription of the Symphonia of Hilde gard of Bingen for the International Society of Hildegard von Bingen Studies. She teaches recorder and plays with several local ensembles. Previously, she taught Women’s and Gender Studies and Music and Gender courses at Florida Atlantic University. www.AmericanRecorder.org Spring 2020 47 More Music Published by the ARS The Erich Katz Music Series (selections below) originally included contemporary music titles that were winners or finalists in the ARS’s Erich Katz Composition Competition. Other music in compatible genres and of similar difficulty levels has been added over the years, as it has become available to the ARS. The ARS also publishes music in the David Goldstein Series and Professional Series. See and purchase all of these online at AMERICAN https://mms.americanrecorder.org/members/store.php, and RECORDER also see other ARS Publications listed in the ad in American Recorder. Erich Katz Music Series (Instruments, Playing Level) Member/Non-Mem. Price SOCIETY Suzanne M. Angevine, A Short Tale for two basses (Level II). 2 sc, 8 pp. $5/$8 INC. Cecil Effinger, Dialogue and Dance (SATB, Level II-III). Sc & pts, 26 pp. $10/$18 Honorary President Erich Katz, Suite of Jewish Folk Tunes (S S/A8 A/T, Level II). 3 scs, 18 pp. $10/$18 Erich Katz (1900-1973) Stanley W. Osborn, Kyrie and Vocalise for soprano voice and recorders Honorary Vice President (SATB, Level II). 2 sc & 4 rec pts, 18 pp. $8/$14 Winifred Jaeger Frederic Palmer, Entrevista (SATB, Level II). 2 sc & 4 rec pts, 16 pp. $8/$14 Statement of Purpose Sally Price, Dorian Mood (SATB, Level II). Sc & pts, 10 pp. $10/$18 The mission of the American Recorder Society is to promote the recorder and its music by American Recorder (ISSN 0003-0724) is published 4 times a year, February (Spring), developing resources to help people of all ages May (Summer), August (Fall), November (Winter), by American Recorder Society, Inc., 3205 Halcott and ability levels to play and study the recorder, Ln, Charlotte, NC 28269-9709. 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