fall 2017 V ol. LVIII, No. 3 • www.americanrecorder.org Published by the American Recorder Society, Recorder American the by Published

Editor’s ______Note ______Volume LVIII, Number 3 Fall 2017 Features his issue feels like one that has a lot of Hans Poser (1917-70) heart. As you might expect, there are reportsT reflecting enthusiasm for recorder and the "New Music" ...... 24 activities that took place in recent months: By Joseph A. Loux, Jr. play­in for Make Music New a solstice  York (page 8) and early music festivals in Departments Indian apolis, IN, and Boston, MA (pages 7 and 9). The Boston performances Advertiser Index ...... 32 included some from players who are young Compact Disc Reviews ...... 17 at heart as well as others by youthful players (university and considerably younger) who Moctezuma meets Lepidoptera give us optimism about the recorder's future. An interview with Mary Halverson Education ...... 21 Waldo about her eager young students in Turning the tables, Mary Halverson Waldo 9 the "Homeless No More" program (page is interviewed about teaching students in a 21) does the heart good—both in consider- facility for families who are Homeless No More ing the generosity required to run such a program and in its benefits for the students. Music Reviews...... 27 There is so much evidence of heart in the memories written about the late David Another Poser composer; holiday selections Bellugi (page 4). Those of us who knew and folk tunes for students and others him couldn't help but be affected by the caring, enthusiastic and talented person President’s Message ...... 3 1 David was. ARS President David Podeschi dreams of cooler Near to a recorder player's heart is find- weather and sharing CCRO news on the ARS web site ing more music to enjoy. In the anniversary year of Hans Poser's birth, we learn more Tidings ...... 4 about his recorder works (page 24), and from Boston Early Music Festival 2017 (page 9); Music Reviews (page 27) about other pieces David Bellugi (1954­2017); Indianapolis Early for the beginning of school and for recorder Music Festival hosts Piffaro and REBEL; aficionados to prepare for the holidays. Gail Nickless Playing recorders on the longest day of the year  www.youtube.com/americanrecordermag in New York City for Make Music New York; www.facebook.com/groups/177397989075511/ Voices of Music receives Laurette Goldberg Award

Gail Nickless, Editor ON THE COVER: Art work by 2017 Student Contributing Editors Cover Art Contest winner Tom Bickley, Compact Disc Reviews katie Yokohama, Sue Groskreutz, Book & Music Reviews • Mary Halverson Waldo, Education Amanda Pond & Cynthia W. Shelmerdine, Line Editors a seventh-grader from Scottsdale (AZ) Advisory Board Preparatory Academy Martha Bixler • Valerie Horst • David Lasocki • Bob Marvin ©2017, American Thomas Prescott • Kenneth Wollitz Recorder Society www.AmericanRecorder.org Copyright©2017 American Recorder Society, Inc. ARS Chapters & Recorder Orchestras Alabama Illinois Triad–Greensboro: Birmingham: Chicago: Ben Eisenstein 847-998-0198 Susan Benson 252-414-4044 Janice Williams 205-870-7443 Chicago–West Suburban: Triangle: Jan Jenkins 919-870-0759 Arizona Joanne Miller 630-359-8750 Ohio Indiana Desert Pipes (Phoenix): Greater Cleveland: AMERICAN Karen Grover 623-687-4791 Recorder Orchestra of the Midwest: Edith Yerger 440-826-0716 Arizona Central Highlands–Prescott: Marilyn Perlmutter 419-265-3537 Toledo: Charles Terbille 419-474-6572 RECORDER Georgeanne Hanna 928-775-5856 Oregon Tucson: Scott Mason 520-721-0846 Louisiana Arkansas New Orleans: Victoria Blanchard Eugene: Lynne Coates 541-345-5235 SOCIETY 504-810-8540 Oregon Coast: Aeolus Konsort: INC. Maryland Jane Boyden 541-994-5198 Don Wold 501-666-2787 Portland: Zoë Tokar 971-325-1060 Honorary President Northern Maryland: Recorder Orchestra of Oregon– Richard Spittel 410-242-3395 Erich Katz (1900-1973) Barbary Coast Recorder Orchestra: Portland: Laura Kuhlman Frances Feldon 510-527-9029 Massachusetts 503-234-2530 Honorary Vice President Central Coast Recorder Society: Boston: Pennsylvania Winifred Jaeger Karen Bergen 310-850-1227 Henia Yacubowicz 978-857-7418 East Bay: Susan Jaffe 510-482-4993 Recorders/Early Music Metro-West Bloomsburg Early Music Ens.: Statement of Purpose Inland Riverside: Boston: Bonnie Kelly 781-862-2894 Susan Brook 570-784-8363 The mission of the American Recorder Society Greg Taber 951-683-8744 Worcester Hills: Erie: Linda McWilliams 814-868-3059 Los Angeles Recorder Orchestra: Philadelphia: is to promote the recorder and its music by Bob Bodman 603-424-8646 Matt Ross 949-697-8693 Michigan William Bowie 215-884-5041 developing resources to help people of all ages Mid-Peninsula Recorder Orchestra– Pittsburgh: Ann Arbor: and ability levels to play and study the recorder, Palo Alto: Fred Palmer 650-591-3648 Helen Thornton 412-486-0482 Nevada City: Kevin Gilson 734-780-7476 Rhode Island presenting the instrument to new constituencies, Miriam Morris 530-265-0986 Kalamazoo: encouraging increased career opportunities for North Coast: Kathleen Kinkela-Love David Fischer 269-375-0457 Rhode Island: 707-822-8835 Metropolitan Detroit: David Bojar 401-944-3395 professional recorder performers and teachers, Molly Sieg 313-532-4986 Orange County: Tennessee and enabling and supporting recorder playing as Win Aldrich 909-625-7722 Northwinds Recorder Society: John MacKenzie, M.D. 231-547-7072 a shared social experience. Besides this journal, Redding: Kay Hettich 530-241-8107 Greater Knoxville: Sacramento: Western Michigan: Ann Stierli 828-877-5675 ARS publishes a newsletter, a personal study Mark Schiffer 916-685-7684 Jocelyn Shaw 231-740-8110 Greater Memphis: program, a directory, and special musical County: Minnesota Samuel Sidhom 901-848-1955 Vanessa Evans 619-297-2095 Greater Nashville: editions. Society members gather and play San Francisco: Twin Cities: Anne Mundahl 651-895-5049 Carol Vander Wal 615-226-2952 together at chapter meetings, weekend Greta Haug–Hryciw 415-377-4444 Missouri Texas and summer workshops, and many Sonoma County: Nancy Kesselring 707-823-7455 Heartland Rec. Orchestra–Warrensburg: Austin: Derek Wills 512-471-3424 South Bay: Ani Mahler 408-638-0161 ARS-sponsored events throughout the year. Patrick Larkin 660-909-1835 Dallas: Louise Delano 972-669-1209 In 2014, the Society celebrated 75 years Colorado St. Louis: Cora Lippi 314-614 0042 Fort Worth–Cowtown Recorder of service to its constituents. Boulder: Trudy Wayne 303-651-6860 Nevada Society: David Kemp 940-224-7896 Colorado Recorder Orchestra: Las Vegas: Buddy Collier 702-610-6148 Rio Grande: Rose Marie Terada 303-666-4307 Sierra Early Music Society: Marcia Fountain 915-544-3427 Denver: Joice Gisbon 303-249-5735 Kay Judson 775-742-4507 Utah Board of Directors Fort Collins: Pattie Cowell New Hampshire David Podeschi, President 970-484-0305 Utah Salt Lake: Connecticut Monadnock: Mary Johnson 801-272-9015 Ruth Seib, Vice-President, Asst. Treasurer Kristine Schramel 413-648-9916 Vermont Jennifer Carpenter, Secretary and Connecticut: & Lynn Herzog 802-254-1223 John Vandermeulen 203-810-4831 New Jersey Monadnock: Communications Chair Eastern Connecticut: Betty Monahan Kristine Schramel 413-648-9916 Wendy Powers, Treasurer 860-536-7368 Bergen County: & Lynn Herzog 802-254-1223 District of Columbia Reita Powell 201-944-2027 Alice Derbyshire, Asst. Secretary and Highland Park: Virginia Membership Chair Washington: Donna Messer 732-828-7421 Daniel Bruner 202-669-3388 Northern Virginia: Montclair Early Music: Edward Friedler 703-425-1324 Mollie Habermeier, Governance Chair Delaware Julianne Pape 845-943-0610 David Melanson, Educational Outreach, Princeton: Shenandoah–Charlottesville: Brandywine: Gary Porter 434-284-2995 Grants & Scholarships Chair MaryJoan Gaynor 609-924-8142 Roger Matsumoto 302-731-1430 New Mexico Tidewater–Williamsburg: Barbara Prescott, Fundraising Chair Florida Vicki H. Hall 757-784-2698 James Chaudoir Albuquerque: Washington Largo/St. Petersburg: Bryan Bingham 505-299-0052 Nancy Gorbman Elizabeth Snedeker 727-596-7813 Rio Grande: Moss Bay: Greta Haug–Hryciw Miami: Ruth Trencher 305-665-3380 Marcia Fountain 915-544-3427 Michael Bancroft 206-523-6668 Orlando Consort: Santa Fe: John O’Donnell 505-662-5745 Recorder Orchestra of Puget Sound: Cheri Grayson 407-299-3076 Anne Timberlake Charles Coldwell 206-328-8238 Palm Beach: New York Beverly Lomer 954-592-2852 Buffalo: Bonnie Sommer 716-662-5975 Seattle: Laura Faber 206-619-0671 Staff Pensacola: Hudson Mohawk: Wisconsin Charles Tucker 805-525-8256 Kathryn Kuhrt 518-477-8450 Susan Burns, Administrative Director Milwaukee: James Chaudoir Sarasota: Long Island: Pat Cassin 516-238-6924 Julia Ward, Administrative Assistant Charlotte Trautwein 941-504-9594 New York City: 920-235-3479 P. O. Box 480054 Georgia Natalie Lebert 212-666-7606 Southern Wisconsin: Charlotte, NC 28269-5300 Recorder Orchestra of New York: Greg Higby 608-256-0065 Atlanta: Mickey Gillmor 404-872-0166 Karen Wexler 631-751-5969 Canada 704-509-1422; tollfree 1-844-509-1422 Hawaii Rochester: Jessica Brennan 866-773-1538 fax 585-683-2802 Edmonton: Vince Kelly 780-436-9064 Big Island: Garrett Webb 808-960-3650 Rockland: Jacqueline Mirando Merrie Pipers Rec. Orch.–Kelowna, BC: [email protected] Hawaii: Irene Sakimoto 808-734-5909 845-624-2150 Bruce Sankey 250-766-1550 www.AmericanRecorder.org West Hawaii Recorders: Westchester: Montréal: Mary McCutcheon Marilyn Bernhardt 808-882-7251 Erica Babad 914-769-5236 514-271-6650 In accordance with the Internal Revenue Service Idaho North Carolina Toronto: Sharon Geens 416-699-0517 Taxpayer Bill of Rights 2, passed by the United States Les Bois–Boise: Vancouver: Congress in 1996, the American Recorder Society makes Carolina Mountains: Susan Hartley Kim Wardwell 360-202-3427 423-612-0421 Tony Griffiths 604-222-0457 freely available through its office financial and Greenville Recorder Society: incorporation documents complying with that regulation. Jon Shaw 252-355-2737 Please contact the ARS office to update chapter listings.

2 Fall 2017 American Recorder President’s Message ______Greetings from David Podeschi, ARS President [email protected]

s I write this, it is summer— members can see what others are doing. I want to mention the here in Texas, that means looking I want to encourage CCRO leaders to Aforward to three months of hot. It use this page to share news and photos Community News section started off smartly with days in the of your activities, and also to share ideas on the ARS web site. upper 90s and humidity to match. and how-to tips. It is also the week when my chil- This issue of the ARS Newsletter the information in the reports, as well dren and grandchildren make a twice- also contains reports from various par- as that posted in Community News, yearly visit, so it is a week of discussions ticipants, including CCRO groups, can give groups ideas for future events. of how they are doing in school, of uni- about activities that took place during Now I must get back to dreaming versity choices and career choices and Play-the-Recorder Month 2017. Using of September and cooler weather. summer internships. We also talked about reading books (vs. surfing handheld devices!) and decided to start a summer family book club. The discussions of what book to read swirled until I suggested Joseph Conrad’s 1899 novella Heart of Darkness as a good start. It’s short, liter- ate, has great themes and characters, and is altogether from a different time and place compared to the connected handheld device world we live in. Between the heat and the discus- sions, it got me to thinking about September and back to school and learning—in particular, lifelong learn- ing. Our musical avocation certainly affords lifelong learning opportunities, with the wonderful teachers and work- shops like those I mentioned in the last issue, and with our chapter meetings, many of which have been on hiatus during the summer. But as you read this, it’s the begin- ning of the fall season for chapter meetings. I want to mention the Community News section on the ARS web site, www.americanrecorder.org/ community_news.php. It has searchable newsletter archives and is a place for sharing what is going on with your chapter, consort or recorder orchestra (CCRO)—a place where all ARS www.AmericanRecorder.org Fall 2017 3 Online: a partial list of CDs featuring David Bellugi, Tidings plus more photos ______David Bellugi (1954–2017), Milestone Anniversaries, ______Voices of Music receives EMA Award

DAVID BELLUGI (September 5, 1954–June 7, 2017) In 1979, he began to Professional recorderist and inspiring teacher David Bellugi teach recorder at and also died after a six-month battle with cancer on June 7. became early music His grandparents fled Nazi for the U.S. At the coordinator for the recommendation of their friend Albert Einstein, his scientist Luigi Cherubini grandfather was hired at Eastman Kodak in Rochester, NY. Conservatory there. His parents, medical researcher Ursula Bellugi and orches- Bellugi played in Piero Bellugi tra conductor , met when Piero, who was born recitals and concert- 2010 Stockstadt Festival in Florence, Italy, came to the U.S. to study conducting with lectures, and as soloist Leonard Bernstein and Raphael Kubelik. David was born in and conductor-soloist with orchestras, in locations through- Rochester. out Europe, Russia (including Siberia), Asia, the Middle After his family moved to California, his parents sepa- East and the U.S. rated. He began playing recorder at age 11 with a Dolmetsch Works dedicated to him, which he also premiered, plastic soprano and the Trapp Family method. He lived with were written by composers Luciano Berio, Nuccio D'Angelo, his mother, graduating from High School, and spent Ugalberto de Angelis, Kamran Khacheh, Dan Locklair, summers in Europe. Bellugi graduated summa cum laude Riccardo Luciani, Boris Porena, Carlo Prosperi and Giulio from the –San Diego, studying with Viozzi. He also recorded film music for Italian composer flutist Bernhard A. Batschelet, composers Robert Erickson Ennio Morricone and American composer Michael Galasso. and Bernard Rands, harpsichordist Anthony Newman, con- A frequent collaborator with Ivano Battiston, , ductor Thomas Nee and double bass player Bertram he also played with Universal Music Ensemble, early music Turetzky (his musicology advisor). Bellugi continued early groups in Florence and , Domenico Del Giudice, music studies in Paris, France, with harpsichordist Antoine guitar, and Berry Hayward Consort. He and friends formed Geoffroy-Dechaume, a student of Arnold Dolmetsch. He Frame, an independent recording/publishing company. His settled in Florence, Italy, where he was based from 1972 on. nearly 20 CDs show up at various sites online. I met David Bellugi in May 1999 in Florence, Italy. I had heard that he was always glad to meet traveling recorder players, so I contacted him. He said that he would gladly come to our hotel. He cleverly brought two recorders with him and made me play his Von Huene as we played duets together. I was unpre- pared and flustered, shy to be playing with a pro, whom I had just met—and in a public place (our hotel lobby). I remember hearing him tune up to my nervous overblowing and realizing that he was seamlessly skipping notes to catch up with me as I flubbed my line—and then he graciously praised my musicianship! Later in our trip, he even returned and drove us to the train station because city transportation was on strike. What a wonderful soul and a marvelous musi- cian David was. The following March, David came to Denver for a weekend workshop (photos, left and right with Gerrie). Everyone loved his cheerful, energetic and skillful leadership. He taught with such irrepressible enthusiasm that he literally rolled onto his toes—I thought he might fly. I loved how he explained each technical tip with how and why it worked, until it made perfect sense. He stayed at our house with my husband and me, and I thrilled to eavesdrop on his practice time! It was like a private concert. We in Denver fondly remember David. I will miss trying to decipher the Italian postings on Facebook, which kept us in touch so many years later. Gerrie Fisk Vendegna, Denver, CO 4 Fall 2017 American Recorder He was a periodic contributor to I never imagined AR (such as a report from the Green­ that, one day, wich Festival 2013, where he was a I would write a Moeck/Society of Recorder Players memorial tribute competition judge and featured per- to my dear friend former, September 2013 AR). Bellugi David Bellugi. was interviewed David Lasocki by He was the kind of e-mail (before online communication person who would was commonplace): "New Landscapes never give up. His for the Recorder," January 1997 AR; light, his joy, his the article title refers to Bellugi's CD generosity of spirit, his compassion, his wonderful musicianship, his love for the Landscapes, reviewed in the September recorder, and his love for his family, friends and students—all of these qualities 1996 AR. Bellugi also wrote "Teaching made him a special human being, a rare person who generates an abundance of is a Two-Way Street: My Students, everything ... including an abundance of laughter. Tilly, et al." in the November 1998 AR. I met David more than 20 years ago. Later he came to St. Paul, MN, with Bellugi is survived by his wife, the his wonderful musical partner, accordionist Ivano Battiston (photo above, taken American painter Rebecca Hayward, in about 2006 in St. Paul). We performed together and had a wonderful time. and their daughters, dancer Sarah Later I visited him in Florence, where he lived. We kept in touch, even with our Bellugi Klima and soprano Sonia busy lives. We always called each other on our birthdays ... a real gift. Bellugi. His mother, Ursula Bellugi, On my last birthday I didn't hear from David. I was worried. I talked with is still head of cognitive neuroscience him later and found out that he was hospitalized at the time. That was when research at the Salk Institute, La Jolla, I first found out that he was sick, but, as usual, his spirit was optimistic. CA. His father, Piero Bellugi, died in We had a great visit on Facetime a month before he died. His loving wife 2012. More about Bellugi is available Rebecca was next to him. He looked great; it was hard to believe that he was so at www.davidbellugi.com (with sound sick, and still too hard to believe that he has left us. samples plus links to interviews, such I am sure that David's amazing legacy will continue through his recorder as one in 2005 by Nik Tarasov in students, his family and his friends. His laughter will continue sounding inside Wind­kanal); and in his many videos of me and it will make me smile, as always. at www.youtube.com/davidbellugi. A Thanks, dear friend, for being part of our lives and for giving your whole memorial site is at https://gogetfunding. com/in-memory-of-david-bellugi. self to the world with such abundance of spirit, beauty, music, joy and love! Cléa Galhano, www.cleagalhano.com In June, I lost my dear friend David Bellugi. He grew up in the U.S. living with his mother, but lived most of his adult life in Florence, Italy, where his father lived. He began teaching at Florence's Conservatorio Statale di Musica “Luigi Cherubini” (the National Conservatory) in 1979; in 1982 he became a tenured professor, a post he held until he died. Our relationship began in 1978 when he ordered a modern pitch alto from me, but it developed into a lifelong friendship through my annual visits to his home and family. When I first visited David in Florence in 1987, I was immediately captivated by his energy and generosity. I would stay in his home and exhibit my instruments, inviting anyone in the area to drop by and also revoicing and cleaning recorders I had made for them. It was obvious that his students thought their teacher was someone special—they were as enthusiastic about him as he was about them. His students always enjoyed their lessons and were proficient with his hand-clapping routine that opened and closed each lesson. Most of them stayed with him, eventually graduating with the equivalent of a master’s degree. Every few years I’d meet a new, young, talented student that he had taken under his wing. David could create connections among people from different backgrounds. One of the joys in David’s life was his trio of recorder students—three young women from Colombia, Slovenia and Slovakia. The Colombian student was brought to Italy through a program sponsored by the Dolmetsch family, an example of how David’s connections would shape lives by bringing people together in the music world. David was a gracious host and endlessly patient in translating from Italian to English as needed. I saw his two daughters

www.AmericanRecorder.org Fall 2017 5 grow from little girls into accomplished observing that he would never miss a adults. His wife, Becky, an artist, always chance to meet someone new, advise a welcomed me into their comfortable player about music and techniques, or home. As open and imaginative as he catch up with other players. He would was, she has always had a new project often bring people he admired over to to show me. Their home is filled with my stand so I could meet them. When her art and mechanical objects that fas- he was able to take some time and be cinate her. with me at my display, he would enthu- Life for David was surrounded by siastically show what each instrument music and musicians. He would often could do (he owned about 16 Prescott include me as his guest at concerts recorders) and would explain why a where everyone would refer to him as particular model was special to him. “maestro.” When we ate dinner in a He was selfless in whatever he did, restaurant near his home, the staff and people knew that he was looking called him “professore.” One of the out for their best interests. events I was able to attend with him Just 10 days before he died, in frail was a harpsichord concert, featuring a health, David mustered the energy to newly-restored instrument from the play his last concert in front of 500 Cherubini Conservatory collection, people who knew and loved this great performed in front of Michelangelo’s man. It went off with barely a hitch David. There was never a moment admired by everyone there and was just and, rather than ending on a quiet note, before or after the concert when David as pleased to know them. I was fasci- his encore was Vivaldi’s Il Gardellino, wasn’t surrounded by audience mem- nated at this glimpse into his life, sur- played with the skill, speed and nuance bers and fellow teachers from the con- rounded by breathtaking art and music. that were David’s trademark. servatory, discussing the concert, the David frequently attended music Thomas Prescott, Hanover, NH music and their lives. He was clearly exhibitions. I was often there as well, Bits & Pieces Congratulations to ... • Germany's Blockfloetenshop (https://Recordershop. us) on its 10th anni­ versary, with seminars In the Summer AR, Judith Linsen­ and offers on its 13 berg was incorrectly included on the brands of recorders, list of recorder students of the late music and accessories George Houle. While a Stanford • Voices of Music, University graduate student, marking 10 years with Lin­sen­berg studied early music a concert at the Boston performance practice and Early Music Festival presented the award to Hanneke with Houle. and their acceptance on June 16 van Proosdij and David Tayler. Actor-writer-composer Lin- of the Early Music America • The Royal Wind Music, which Manuel Miranda—known for his (EMA) Laurette Goldberg performed for the first time music and lyrics for the award-win- Award for outstanding achieve- 20 years ago in June 1997 ning Broadway musical Hamilton, as ment in outreach and/or educa- • Adirondack Baroque Consort, well as songs for Disney’s animated tional projects for children or which has commissioned two Moana—participated in a Q&A extra adults by ensembles and individ- works to be premiered in its feature on the Moana DVD. In ual artists. Former EMA presi- 55th anniversary year, by "Things You Didn't Know About...," dent Marie-Hélène Bernard James Oppen­heimer of Pough­ when asked his favorite musical (left in photo at right above, keepsie, NY, and Glen Shannon instrument, he answered: "recorder." by Gary Payne Photography) of El Cerrito, CA 6 Fall 2017 American Recorder INDIANAPOLIS can really grab an audience. The play- The program uses music to trace EARLY MUSIC FESTIVAL ing was expressive, especially in the events in which Don Quixote is recorder and the first violin. involved: his madness and when he By Marilyn Perlmutter, Bloomington, IN For both Quartet in G Major and becomes a knight errant (each an in D Major, Maute played tra- anonymous early-17th-century piece); The 51st Indianapolis Early Music verso. In both works, it was as if all of works by Diego Ortiz, Francisco Guer­ Festival (IEMF, http://iemusic.org) the musicians were playing on exten- rero, Luis de Milán and others to rep- took place June 23-July 16 at the sions of their own body. These pieces resent when he chooses his lady, sallies Indiana History Center. Among the might possibly convert any avowed forth, and attends events including a performances (by ensembles such as wind player to a liking for strings! wedding and a puppet play. Pieces were Hesperus, Peabody Consort and REBEL is clearly a well-rehearsed arranged or embroidered with improvi- Infusion Baroque) were two concerts group that has played together for a sation by Piffaro to represent other by groups well-known to AR readers. long time, starting with its formation parts of his life—and finally his death, The first, on July 9, was by the some years ago in Germany and con- accompanied by Gregorian chant and group REBEL with recorderist Mat­ tinuing now in New York City, NY. Its an Agnus Dei from a mass by Tomás thias Maute. Other group members members are extremely well attuned to Luis de Victoria. are Jörg-Michael Schwarz, Baroque one another. The audience demanded The performance was a winner in violin and viola; Karen Marie two encores; two songs were played on all aspects. The text was projected on a Marmer, Baroque violin; John alto recorder with strings, ending possi- screen and printed in hard copy. The Moran, Baroque ’cello; Dongsok bly one of the best concerts one might instrumentalists were superb, the sing- Shin, harpsichord and organ. be lucky enough to hear. ers grand, and the soprano spectacular. The program, “Telemann: Alla The 51st IEMF was brought to a By her gestures and facial expressions, Polacca,” was presented to commemo- rousing conclusion by Piffaro (www. Snaidas created each character, while rate the 250th anniversary of the death piffaro.org), with the Rose Ensemble other singers filled in their parts, con- of Telemann. Four of the seven pieces Singers and Nell Snaidas, soprano, veying the personalities authentically, featured Maute. along with guest instrumentalists. “The especially Don Quixote and the girl. Musical World of Don Quixote,” a The variety kept the audience on its The Ouverture in Eb Major was specified for flute pastorelle and strings. program supported by the Pew Center toes, particularly during a stick dance/ Maute used a replica of this endblown for Arts and Heritag­ e in Philadelphia, fight near the end. flute, the size of a soprano recorder PA, was conceived and curated by The hall was filled with noises with a range of an octave and a sixth. It Piffaro's lutenist Grant Her­reid. Other of appreciation. Audience members is pitched at a=440. With the orchestra Piffaro members are Joan Kimball smiled broadly, vowing that they would playing at a=415, Maute adjusted, and Priscilla Herreid (reeds, bag­ be back next year to hear more early essentially playing the flute pastorelle pipe, recorder); Greg Ingles (sack­ music. but, recorder, krumhorn); Christa as if in D major rather than Eb. The Ouverture had a wonderfully Patton (harp, shawm, bagpipe); and light and cheerful start, then proceeded Robert Wiemken (dulcian, recorder, with an obvious analogy to birds in the krumhorn). Addi­tional instrumental- recorder part. The flute pastorelle's tone ists included Erik Schmalz (); was beautiful throughout. Glen Velez (percussion); and Charles •Recitals Later in the Ouverture, in a Bourée, Weaver (vihuela, guitar). the violin and recorder echoed each A pre-concert event where group •Workshops other most delightfully, followed by a members described and played all the Passepied that started calm, but ended instruments used—louds, softs, record- •Skype Lessons with rapid passages and even stomping! ers, strings, percussion, harp and bag- The ensemble was loud and enthusias- pipe—left the audience raring to go! tic—as was the audience. It was a thor- At the start of the concert and oughly rousing opening to the concert. after intermission, the performers pro- [email protected] The Quartet/Concerto in A Minor cessed in, as music was played in the www.LEnsemblePortique.com for recorder, two violins and basso con- back of the hall by drums and bagpipes, 309.828.1724 tinuo was the kind of folksy music that catching the audience's attention. www.AmericanRecorder.org Fall 2017 7 Recorders in New York City: Make Music New York

By Judith Anne Wink, New York City, NY

In the 1970s, when New York was a graffiti-coated, crime-ridden jungle, a delusional mayor called it a “fun city.” Forty years later, there’s a lot less graffiti and a far lower crime rate, but just as much fun. Make Music New York adds to the merriment. Started in 2006, this all-day music and dance festival takes place as part of a world- wide celebration in 750 cities in 120 countries on the summer solstice (www.makemusicday.org). This year, on June 21, more than 5,000 per- formers played and danced in 400 venues in all five New York boroughs. The venues included public plazas, parks, sidewalks, gardens, and every- where else that musicians and dancers could fit themselves. Name an instrument, name a genre, and it was represented. This is one of those events, like the Marathon, that brings our diverse and quar- relsome hometown together. For the fifth consecutive year, recorders were on hand. Thirty of us, under the baton of Deborah Booth, offered a one-hour program in Manhattan’s Strauss Park. We experienced the usual hazards of outdoor performing. A dishev- eled character yelled that we were lousing up the park. Seems he was a drug dealer and this was his turf. A couple of play- ers found out the hard way that it’s a good idea to put your music in a three-ring binder. Pigeons kept flying overhead, threatening to do what pigeons do. But despite hostile competitors, scattered music and winged menaces, we sounded pretty good. This was especially remarkable since we had never rehearsed. We weren’t exactly sight-reading, since Deborah had sent us the music well in advance, but this was the first time we had played in a group. Thanks to Deborah’s rock-steady beat and keen ear for lost musicians, we stayed together, even if it wasn’t a highly polished performance. The music ranged from Morley to Gershwin—vocal and instrumental pieces from the Renaissance (Holborne, Croce, Gibbons and Bull), the Baroque (Bach, Handel and Telemann), and modern times, including a minuet in the style of Telemann by Juilliard professor James Kurtz. A small, good-natured audience seemed to enjoy everything, but they partic- ularly liked Stan Davis’s arrangements of On the Sunny Side of the Street, and the world’s sexiest tune, the tango El Choclo. Deborah had e-mailed us the day before that we could expect a very tall special guest. Carmelo Anthony? Bill de Blasio? No, Mark Mindek, a Baroque dancer and stilt walker! Arrayed in 18th-century finery that Louis XIV would have envied, he improvised elegant steps to go with everything we played. Deborah helped him when she could, shouting “This is a pavan!” or “Next one’s a min- uet!” A few pieces, like Sunny Side and Gershwin’s Summertime, threw him a curve, but nothing baffled him for long. Life in New York has its draw- backs—noise, crowds, collapsing infra- structure, ruinous rents—but there are compensations. Only in this city could you see an eight-foot-tall Baroque dancer, dressed for an evening at Versailles, doing the tango to the accompaniment of 30 earnest recorder players.

8 Fall 2017 American Recorder The 19th biennial Boston Early Music Festival (BEMF), held June Boston Early Music Festival 2017 11-18 at venues in Boston, MA, Monday, June 12 ing with selections from the Anna promised a summer carnival, with For early arrivers, recorder player Jan Szirmay-Keczer dance collection themed music and dance programs Elliott and Courante (David Gable, (1730). “Westy” and “Barbaro” demon- spinning around André Campra’s violin; Molly Johnston, viola da strated Western and Eastern musical 1699 opera, Le Carnaval de Venise. gamba; Brittany Lord, harpsichord) influences on Tele­mann’s musical style, Recorder players anticipated gave a noontime BEMF debut at First as did the sets after intermission— the North American debut of “Euro-Ashkenaz,” “Hungaria,” Boreas Quartett Bremen Church in Boston. The new group , with “Anatolia.” Solamente Naturali’s per- Han Tol from nearby Cape Cod played chamber , recorders. This was not to music by Albinoni, Bernardi, Bach, formance was spellbinding and breath- be, as fans learned in May that the Marais and Vivaldi, in an acoustically taking—one of the rare BEMF perfor- quartet and Tol couldn’t get visas. well-balanced ensemble performance. mances to command standing ovations To fill in for Tol’s activities, BEMF at both the intermission and the end of Stefan Temmingh In an early-week Festival event engaged , a at 5 p.m. at Jordan Hall at New the concert. The ensemble’s playing South African recorder player. England Conservatory, Solamente was precise and energetic. To the chagrin of BEMF offi- Naturali presented “Musica Globus.” Mostly playing soprano and cials, this was not the final change: The ensemble consisted of Miloš sopranino recorders, Rokyta was com- on June 13, with the Festival already Valent, violin, viola, voice, artistic pletely at ease, constantly switching underway, ticketholders were regret- leader; Jan Rokyta, cimbalom, among recorders, cimbalom, duduk fully informed that, due to elbow recorders, duduk, clarinet, voice; (an Arme­nian double reed instru- injuries suffered in a bicycle acci- Dagmar Valentová, violin and voice; ment) and clarinet. He played both dent, Temmingh would be unable Peter Vrbinčík, viola and voice; Juraj the Telemann selections and the folk to make his June 18 BEMF debut. Kováč, ’cello and voice; Tibor Nagy, dances with flair and conviction. Even though by then it would double bass; Soma Dinyés, harpsi­ Undoubtedly, the combination have been possible to consult pro- chord; and Baykal Doğan, percus­ of stellar musicians and innovative fessional recorder players attending sion and dance. The program fea- repertoire made this performance by BEMF, as well as ARS representa- tured arrangements by Valent that Solamente Naturali one of the high- tives who were already in Boston, highlighted the relationships tying lights of this year’s Festival. the second BEMF recorder change Kathryn Montoya ’s composi- was to engage . tions to songs and dances from 18th- Tuesday, June 13 A talented mainstay of the BEMF century Slovak, German, Turkish and Upon first arriving at Church of the opera orchestra, Montoya is much Hungarian manuscript sources. Covenant for a 3:30 p.m. concert by more in demand for her oboe skills The concert's first half featured the University of North Texas Early than her solo recorder. an introduction (Allegro from Sonata Music Ensemble, directed by Paul Still, there were a number of “Polonaise,” TWV42), and three descrip- Leenhouts, a glance at the program concerts by ensembles featuring tively-named sets. “Polska” included raised questions of whether this was a recorder or related winds. The movements from Telemann’s works recorder event at all. However, an alto week remained full of promise. inspired by Polish , alternat- recorder was ready on the piano; possi- bly Leenhouts would play something. Starting by assuring the sweating audience that it was hotter in Boston than it was in Texas, he also apologized for not having printed enough pro- grams for the quite sizeable audience. The program's music was all asso- ciated with the town of Lübeck in Northern Germany—mostly motets performed in the Lübeck Marien­ kirche, which had a tradition of free concerts called “Abendmusiken” (the program’s title). www.AmericanRecorder.org Fall 2017 9 violin; Mathilde Vialle and Lucile Wednesday, June 14 Boulanger, ; Mathieu Bertaud The stern exterior of the Goethe Insti­ and Lucile Perret, flute; Thibaut tute on Beacon Street gave way to a Roussel, theorbo; and Sébastien lustrous labyrinth of dark wood rooms Daucé, organ and direction. and corridors leading upstairs to the The performers were arranged on sunlit salon where Kleine Kammer­ stage with the singers on a platform in musik played at 11 a.m. The group's the back, the continuo players in front players are Geoffrey Burgess and of them in the center, and a violin and Meg Owens, and recorders; recorder on each side. A person sitting Stephanie Corwin, bassoon; The recorder on the piano was far enough to the side could see the Rebecca Humphrey, ’cello; and only used in one piece. The (uncred- music; it looked like tenor recorder was Leon Schelhase, harpsichord. ited) young man who did the arrange- often doubling violin. Occasionally the The program was entitled “Fanfare ments decided that this one would recorders would play instead of the vio- and Filigree,” also the title of their sound better with a recorder doubling a lins, to change the texture. This mixing 2016 CD, from which they played violin line, so Leenhouts played instead and matching turned out to be a great excerpts by composers Antoine Dornel, of conducting (above). The sound was use of recorders. , Jan Dismas Zelenka thicker, but he could barely be heard. The most striking feature of the and François Couperin. Also included The 8 p.m. Festival concert was concert was the blended sound of the were two works by G. F. Handel. music by Marc-Antoine Charpentier singers, as the music switched between The ceiling of the room was bril- (1643-1704) written for the chapel tutti passages and small ensembles. liantly ornate, with chandeliers and of the Duchesse de Guise. Ensemble Formed in 2009, Ensemble Rococo ornaments. It was an easy loca- Correspondances performed with Correspondances seeks to revive little- tion to lock one’s gaze while listening forces similar to those Charpentier known music of 17th-century France. to the group's polished ensemble skills. had on hand: a half-dozen singers plus This sample, met with two encores, The final segment,“Petite Suite de Béatrice Linon and Simon Pierre, suggests that it is worth reviving. Musique de Chambre,” was a series of movements from various Baroque composers, assembled by Kleine Kam­ mermusik. It was the custom in the Baroque era to play a menagerie of movements from different composers (here Dornel, Couperin and Marais) to please the court salons. Most particu- larly, the’ cello played pizzicato beneath two cheerful alto recorders during one movement of this “Suite,” providing a wonderful change of texture compared with the heavier context of oboes and bassoon in the surrounding pieces. Kleine Kammermusik’s shared passion for 17th- and 18th-century European music was always evident. Down the hill at Arlington Street Church Seven Times Salt, specializing in repertoire of the 16th and 17th cen- turies, played to a standing-room-only crowd at noon. More chairs were squeezed in to accommodate the ever- expanding and enthusiastic audience. Seven Times Salt members are Karen Burciaga, violin and voice; Daniel Meyers, recorders, flute, bagpipes, percussion, voice; Josh 10 Fall 2017 American Recorder Schreiber Shalem, bass viol and of Old South Church. A near-capacity André Campra’s Le Carnaval de voice; and Matthew Wright, and audience was treated to elegance and Venise features sparring lovers enjoying voice. They were joined by guests polish from: Héloïse Degrugillier, Carnival in exotic Venice. BEMF’s new Michael Barrett, tenor, recorder, recorder; Abigail Carr, Julia production offered extravagant cos- lute; Nathaniel Cox, bandora (a McKenzie, Emily Dahl-Irons, Anna tumes and magnificent sets as back- 16th-century wire-strung plucked Griffs, violin; Zoe Kemmerling, drops for dance and singing. Artistic —this one crafted viola; Colleen McGary-Smith, ’cello; co-director Paul O’Dette called it a by William Good of Somerville, MA, Motomi Igarashi, bass; and director “Baroque musical,” perhaps since this who attended the program); and Olav Akiko Sato, harpsichord. opera has a cast of mortals rather than Chris Henriksen, . The program's final selection the usual interplay of gods and mortals As with Kleine Kammermusik, was Concerto for recorder and violin found in other Baroque operas. Seven Times Salt performed music in C Major by Johann Gottlieb Graun. The opera orchestra included from their most recent CD, Courtiers Degrugillier’s alto recorder playing was Gonzalo X. Ruiz and Kathryn & Costermongers. They alternated ele- virtuosic, particularly in the third Montoya, oboists doubling on record- gant consort music with their own movement, Allegro. In the first two ers. One review is at: https://www. arrangements of broadside ballads, movements, she and violinist Karr nytimes.com/2017/06/19/arts/music/ sometimes using the entire ensemble sometimes alternated, other times per- review-boston-early-music-festival.html. and other times a smaller group. formed flawless unison passages, and As a reviewer pointed out, the BEMF Meyers switched easily from flute occasionally accompanied one another. operas and presented during to recorder to bagpipes, and sometimes The rest of the ensemble painted an the week shared busy directors and percussion. Instrumentals included artful backdrop for the soloists. production staff, as well as multital- dance tunes collected/published by Beacon Hill Friends House is one ented singers and instrumentalists. Matthew Holmes, , of Boston’s hidden treasures. A tall nar- and John Playford. The King’s Delight, row room seen from long descending Thursday, June 15 from Playford, spotlighted Meyers on stairs, it invites you into contemplation. With the number of events increasing alto recorder, and then pipe and tabor, Silhouettes of tall trees beyond a win- daily, Festival-goers may have had diffi- with Wright on soprano recorder. dow cast shadows, removing you from culty carving out time to visit the An audience favorite was Notting­ all sense of a dense, noisy city. Exhibition, open Wednesday-Saturday ham Ale; all were invited to join in on This was the venue where Texas- at the Courtyard Marriott Downtown. the refrain—and did, with great enthu- based Trio Amaranti—named for ARS administrative director Susan siasm! Seven Times Salt are masters at amaranth, a plant that the Greeks asso- Burns and Board members answered ensemble performance, and their own ciated with immortality—provided a questions and signed up members. interaction made the program that 2 p.m. concert, the first of a series A 10 a.m. concert kicked off a much more fun. dominated by skilled, beautifully-col- two-day Early Music America (EMA) The busy afternoon continued ored, floating traverso playing. A pro- Young Performers’ Festival at First with a 2 p.m. performance by Les gram delightfully built around the Church in Boston, with Oberlin Bostonades, offering “BERLIN: belle week’s Carnaval theme, it comple- Baroque’s “One of a Kind: Musical et bizarre” in the lovely Gordon Chapel mented the vocal fireworks elsewhere Innovators in France and Germany.” with an instrumental contemplation. The musicianship and expressive qual- Elegant reflection was evident in ity of the college groups presented has Quantz’s in G, with risen and been maintained over past Maria Gabriela Alvarado and Adam years, in ways that make audiences Buttyan, traverso, joining harpsi- happy for the future of this music. chordist Kyle Collins. In Galuppi’s G Sometimes, as here, alumni and minor Concerto for Two Flutes, the flutes faculty join students—demonstrating were supported by Baroque violinists an important point, as all work toward Ethan Lin and Michael Cervantes. the same goals within an ensemble, All were works worth hearing, sensi- being shown by example rather than tively and energetically played in per- just being coached well. fect acoustics. A few members of Les The traverso fest, started by Trio Offered on several evenings during Amaranti, resumed with Clérambault’s Bostonades (Héloïse the week at Cutler Majestic Theatre at Orphée cantata (student flutist Moises Degrugillier, center) Emerson College, French composer Lopez Ruiz) and the Allegro I from www.AmericanRecorder.org Fall 2017 11 In the Exhibition: ARS Board Supernatural angel/devil music the Virgin Mary to the turtledove members Barbara Prescott (l) begins each of the oratorio's two parts. whose babies have been snatched from and Alice Derbyshire (r) flank The supernatural music changes, to the nest by a bird of prey. The birds of Teresa Deskur two recorders and gamba without basso prey are represented instrumentally by continuo as accompaniment, for the fast descending scales in the low first human —startling, but strings, and the turtledove by a traverso also exhibiting eloquently the emotions (in this case, not an oboist doubling— of loss and grief. Recorders are only but Anna Besson of Nevermind, on used in the music involving humans. the BEMF schedule for Friday night). The oratorio was not staged; sans Of the four oboes, two also played costumes or theatrics, BEMF instead recorders. Kathryn Montoya and presented it so that Handel’s celestial Gonzalo X. Ruiz were easily heard as music could be enjoyed in its purest the humans enter in a section with only form. The audience appeared to be rapt recorders and light continuo, then with Bach’s Fifth Brandenburg Concerto in their attention. Lit-up screens were the strings. Part of the reason the (faculty member Michael Lynn). visible as people read along with the recorders could be so easily heard was Violin, gamba and harpsichord score and translations on their phones: Handel’s —a thinned-out joined the flute to help express Orfeo’s a new, if slightly ironic, twist on appro- texture where the recorder lines came grief, his faith in his love, and his reso- priate concert behavior, though fortu- through, even as the strings came in. lution to face down death’s power. nately not too distracting. If this prac- In the second half, the recorder Flutist Ruiz, violinist Matthew Mill­ tice keeps young people interested in again accompanied the humans, but key, gambist Alex Baker, harpsi­ the music, it seems a fair trade-off. In this time it was recorder and oboe in chordist Mitchell Miller and soprano his early twenties when he wrote this unison. It was a great effect, like a Juliana Zara negotiated these emo- piece, Handel might well have appreci- recorder with a little bite or edge. tions, adding stylish ornamentation ated the attention from those his age. Though the evening had already with great skill that will only be deep- The orchestra was a satisfying been a full one, there was still an ened with added concert experience. lineup of strings (violins, violas, ’cello, 11 p.m. concert in Jordan Hall: Bruce A full evening began with a pre- bass, and a bass viola da gamba), bas- Dickey & Friends, with Dickey, concert talk before a performance soon, brass, three oboes who doubled cornetto; Joanna Blendulf, gamba; by the BEMF Orchestra and Soloists. on flute and recorders, organ, two Maria Christina Cleary, harp; Liuwe “Eyewitness to the Resurrection: An harpsichords, theorbos, archlutes and Tamminga, organ. "La Bella Minuta: angel, a devil, two mourning women, tympani. The recorder parts were used Florid Songs for Cornetto Around an evangelist react in Handel’s Roman to bring forth sweetness and gentle- 1600” was all about division-style musical extravaganza” was presented by ness, and their sounds in one section ornamentation. The variety of orna- musicologist and Handel scholar Ellen blended in unison with oboes in an ments was encapsulated in the French T. Harris. The topic of G. F. Handel’s enviable display of perfect intonation. chanson Mille Regretz, played four monumental oratorio, La Resurrezione, Though the score calls for both times: straight, with no divisions; with caused the Massachusetts Institute of chorus and soloists, in this production Ganassi-style divisions; straight, as a Technology professor emerita to light the choral parts also were sung by the harp solo; with Bassano-style divisions. up with enthusiasm about her subject. soloists. In their solo capacities, they Handel wrote this lavish work in represented an angel (Karina Gauvin); Friday, June 16 1708 to please Roman noble Marchese Mary Magdalene (Teresa Wakim); True to its title, the 2017 ARS Great Francesco Maria Ruspoli, who hired 23 Cleofe, another female disciple of Jesus Recorder Relay at Chipman Hall was violins and violas, six ’cellos, six double (Kelsey Lauritano); Saint John the a marathon event of back-to-back basses, four oboes (doubling on flute Evangelist (Aaron Sheehan); and mini-recitals, each set being handed and recorder), and bass trombone. Lucifer (Christian Immler). The from one to the next in quick succes- Harris explained why this quasi-oper- shifting scenes depict the angel con- sion. During four uninterrupted hours atic work is so seldom performed: the fronting Lucifer, and the three disciples (10 a.m.-2 p.m.) of varied, entertaining vocal variety and demands, the original of Christ lamenting his death and then and inspiring playing, the audience large orchestra with musicians on tiers discussing the resurrection. ebbed and flowed, but the enthusiasm behind the singers, the elaborate stage A particularly tender was the remained constant. backcloth—and, very unusual at that “Così la tortorella,” where Saint John Players ranged from very young time, the no-holds-barred expense. (tenor Sheehan) compares the grief of (Mark Albrechts­kirchinger and his 12 Fall 2017 American Recorder group, which included two sets of The audience was treated to a surprise Ricketts, soprano; Stephanie young cousins making their second encore; Deskur was joined by her Corwin, Baroque bassoon; Jeffrey Relay appearance; the eldest is now teacher Barbara Kaufman and guitar- Gossman, harpsichord; and Boston 13 years of age) to retiree, dedicated ist Paul Sweeny, for the charming Recorder Orchestra members playing amateur to established virtuoso. The Folias Gallegas by Santiago de Murcia. two original contemporary pieces by number of players ranged from one Each performance was notable: Massachusetts­ composer and recorder (recorder professional Aldo Abreu, Eric Haas with Olav Chris Henrik­ player Melika M. Fitzhugh, on hand- playing the Chaconne from Bach’s sec- sen, archlute; The Prescott Players made Renaissance recorders by ond Violin Partita, from memory) to (Sarah Cantor, Roy Sansom, Dan Francesco LiVirghi—ending with the Boston Recorder Orchestra's 18 Meyers, Emily O'Brien) a quartet Sören Sieg's African suite, Ajo Oloyin. members playing Renaissance record- playing Renaissance recorders by Tom This free concert underscored the ers under the direction of John Tyson. Prescott; Aldo Abreu’s impressive beauty of the recorder and its impor- A highlight was 16-year-old young students, who played a melodic tance as a serious instrument. Seeing Teresa Deskur, winner of the 2016 and rhythmic set of South American young and not-so-young recorder Piffaro National Recorder Competi­ pieces; Emily O’Brien who played performers is a perfect reminder of its tion for Young Players. Deskur’s grace- tenderly with her father, composer universal accessibility and versatility. ful comportment and skillful perfor- Michael O’Brien on guitar, and also A busy morning spawned conflicts mance were impressive. She opened on demonstrated the dynamic capability with multiple events of interest to a Renaissance soprano with Van Eyck’s of the Helder Harmonic tenor recorder players, including with a two- De zoete Zoomertyden, which showcased recorder; beautiful songs sung by hour master class with Bruce Dickey her facility with complex articulations Eileen Cecelia Callahan, soprano, on Renaiss­ ance and 17th-Century on Van Eyck’s divisions. and Concordia Consort (Sheila Ornamentation Practices at the She then took the audience on the Beardslee, director; Nouri Newman Emmanuel Church Music Room. manic ride of Corelli’s La Follia, dem- and Brian Warnock, recorders); Dickey is a major figure in the onstrating not only technical skill but mixed ensemble Fire and Folly, with cornetto's revival, and teacher of a very also her expressiveness and lovely tone. Rachel Begley, recorders; Sian large percentage of the cornetto players

www.AmericanRecorder.org Fall 2017 13 Clockwise from top left, Relay performers: Erik Haas, recorder, Olav Chris Henriksen, archlute; Concordia Consort; Fire and Folly; students of Aldo Abreu, including Marc Albrechtskirchinger, recorder; David Albrechtskirchinger, clarinet; Charlotte Raine, ’cello; Eleanor Raine, harpsichord (behind); Teresa Deskur, recorder, with Miyuki Tsurutani, harpsichord; Boston Recorder Orchestra; Prescott Players

working today. He started by saying that he wanted to give The first group for the master class segment was an ornamentation workshop rather than a master class. a Renaissance flute consort (Laura Randall, Dolores Dickey became a major cornetto player partly by study- August, Rachel Kurihara, Christopher Kreuger), who ing writings about cornetto playing from the 16th and 17th played Au Joli Bois by Claudin de Sermisy (c.1490-1562), centuries. The 16th-century author Dickey wanted to cover with the player on the top line ornamenting. An audience was Luigi Zenobi (Il Cavaliere del Cornetto), who worked for member asked whether the other players should also be the Duke of Ferrara as a cornettist and a renowned judge of ornamenting: “Probably not for a piece this homophonic. singers. After Zenobi left Ferrara, he wrote letters to people But for something very polyphonic—yes.” When all lines at the court, trying to collect money he believed the Duke improvise, they would not do so at the same time. They owed to him. One of them asked him about the necessary would go through the score and mark who improvises when. skills for being a good musician. He responded, answering Singer Veronica Miyoung Joo offered the madrigal questions like: “What is required to be a good conductor?”; Filli, mirando il cielo by Giulio Caccini (1551-1618). Dickey and “Why might a composer not be a good conductor?” made two specific suggestions for ornaments: an inclinazio, (He never seems to have gotten the money.) where the singer starts a third lower than the written note 14 Fall 2017 American Recorder and then ascends to it; and the other an esclamazione, where Saturday, June 17 the singer starts soft and suddenly becomes quite loud. Recorder players started the day with a play-in, led by The final performer was Aik Shin Tan, Renaissance Debra Nagy (standing in for the injured Stefan Temmingh, flute (heard at the 2015 BEMF with the Peabody Conserva­ who had replaced Han Tol) at Emmanuel Church Music tory Baroque Ensemble). He played Bassano’s diminutions Room. Nagy was asked by BEMF to lead the recorder mas- on Susanne un jour—but was interrupted before he could ter class at 11:30 a.m., so she also led the preceding play-in. finish. Dickey’s advice was that it is fine to get a little behind Nagy started the master class by saying that, while she or ahead, like in jazz, without actually varying the tactus. does play recorder, she doesn’t consider herself a recorder Towing recorder players in yet another direction was soloist. She had brought along an oboe for demonstrations. the EMA Young Performers’ Festival. Directed by Adam Rather than try to work with people on recorder technique, Knight Gilbert and Rotem Gilbert, the Univers­ ity of she focused on interpretation of , and how to Southern California Collegium performed at 10:30 a.m. identify and intensify the evoked emotions. at First Church in Boston. This is another instance of Teresa Deskur, one of the high points of the ARS students learning and performing alongside their teachers, Recorder Relay, played first. She is a high school junior and two well-known recorder and shawm players. winner of the 2016 Piffaro young artist contest. Despite her Their program, “The Songbook of Anna of Cologne,” calm and composure at the Relay, she seemed nervous— featured a collection of German songs of devotion. The yet she gave a very polished performance of the Telemann unison and occasional poly­phonic in Latin and a Fantasia 11. Nagy gave her some advice about how to start German/Dutch dialect were divided into vocal and instru- slowly and build speed without ending up too fast: first, mental sets with vielle, recorder and vihuela joining some of slow down a bit to arrive at the cadences, then stretch the the singing. The instruments also played a Heinrich Finck phrases and allow the gestures to take on individual charac- setting of Veni redemptor gentium, an Ave maris stella, and ter. Deskur was directed to play a few passages several times part of Josquin’s Missa L’ami baudichon. to apply the changes. After playing the passages with the At nearby First Lutheran Church at an overlapping changes, Deskur had visibly relaxed. time, Boston-based Canzonare (Sarah Bellott, soprano; The next performer, Mathilde Sundaram, is a home- Kateri Chambers, traverso; Dylan Sauerwald, harpsi­ schooled 14-year-old. She played the Sonata Sesta in A minor chord) presented a most attractive program by composers by Francesco Veracini, with Miyuki Tsurutani on harpsi- surrounding the various early-18th-century French heirs chord. The sonata's third movement is an Allegro/Adagio— apparent, “Musique pour le Dauphin: Watery Escapes.” The both the A and B sections start fast, but end with three mea- aquatic cantatas with dolphin/dauphin connections were sures of Adagio, and then repeat. Sundaram played all four Clérambault’s 1713 Alphée et Aréthuse and Campra’s 1708 Adagios as written. Nagy pointed out that the first time, Arion. The audience was delighted by heartfelt when the player is moving quickly, stops at the fermata and and lovely airs, interwoven with colorful, lilting traverso. then continues very slowly, it’s an interesting surprise. Regular BEMF patrons must develop rules for buying However, doing the same thing four times makes the result a tickets to the 11 p.m. concerts. Not infrequently, there are lot less surprising. They worked to ornament the fermatas late concerts by wonderful artists that listeners would proba- and the Adagio sections. Sundaram's final playing of the bly have enjoyed greatly earlier in the day—but at 11 p.m. whole movement was quite striking. it’s sometimes a struggle to keep both eyes open. The final performer was Jamie Allen, a recorder player The BEMF debut of Nevermind was one of the late who is outreach coordinator for the Dallas (TX) Symphony concerts that energizes the audience instead of putting it to Orchestra. He played the Cantabile movement from the sleep. The flutist Anna Besson had played the turtledove Methodical Sonata No. 6 in C major by Telemann. The aria in the previous night’s Handel oratorio; the other musi- Methodical Sonatas have a “straight” part, followed by a part cians (Louis Creac'h, violin; Robin Pharo, gamba; Jean with ornamentations devised by Telemann. Nagy urged Rondeau, harpsichord) were equally riveting. It was an everyone to spend a lot of time playing the “straight” version, especially good choice to play Telemann’s Paris Quartet I in and then appreciating Telemann's ornamentation. G major, with three equal parts rather than the viol being In a week when Bruce Dickey was ever-busy with his part of the continuo; the viol player was exciting. cornetto, his performance at 2:30 p.m. in Jordan Hall with The audience applauded enthusiastically—and certainly Concerto Palatino seemed perhaps less polished and in normal circumstances, the two (at least) encores Never­ smaller in scale than previous BEMF appearances. On mind played would have been justified. However, those paper, this was a large ensemble: Dickey and Doron who depend on public transportation may become more David Sherwin, cornetto; Veronika Skuplik and Julie nervous, and perhaps flee after the second encore without Andrijeski, violin; Claire McIntyre, Greg Ingles, Charles waiting to see if there would be another one. www.AmericanRecorder.org Fall 2017 15 Toet and Joost Swinkels, trombone; also called for oboes with bassoon in chamber music with her oboe a foil to and Liuwe Tamminga, organ. the continuo group. The natural horns the recorder playing of Paul Leen­ “Echoes of Saint Mark’s: Instru- were tacet except in the two . houts), or as an oboist doubling mental Music from the Musical The singing, acting, staging and recorder in the opera orchestra. The Chapel of the Doge” included master- costuming were all quite good, and the question raised wasn’t so much that she pieces from the grand cathedral of audience reacted suitably to the humor. wouldn’t play recorder well—it was Venice, mostly by Only hours had passed since some more whether a refund option should and Palestrina, played on groupings of of the players on the 11 p.m. Jordan have been offered to those who didn’t trombones, cornetti and violins with Hall stage for Quicksilver & Friends think of her as a featured recorder solo organ continuo. Although there were had performed there with Concerto artist of the same caliber as Tol, no recorders, Ingles, himself a fine Palatino: Robert Mealy and Julie Temmingh or past Sunday recitalists. recorder player, moved the audience Andrijeski, violin; David Morris, Despite having to put together a with his sensitive trombone playing. gamba; Charles Weaver, theorbo solo recorder concert on short notice, Dickey's virtuosity made impressive and Baroque guitar; Dominic Teresi, Montoya may have silenced doubters divisions sound easy. dulcian; Greg Ingles, trombone; Avi by tackling and conquering repertoire A highlight was Gabrieli’s Canzon Stein, harpsichord; Bruce Dickey that a lot of recorderists try to play: V à 7, with suspenseful silences and and Doron David Sherwin, cornetto; three solo pieces scattered through the parallel intervals carrying the audience and singers from the BEMF Young program by Jacob van Eyck (on alto forward to gorgeous cadences. Artists in Training. A necessity to and soprano); and sonatas by Bach (E Rounding out a full week for busy keep the crowd engaged for this last major) and Corelli (F major). In addi- Festival singers and orchestra members late-night event, the instrumental tion to flying fingers, her clear articula- was a set of chamber operas, Gio­ accompaniment varied from tutti to tions brought out melodies in passages vanni Battista Pergolesi’s La Serva groups of strings or brass, with singers with difficult 16th-note octave jumps. Padrona and Livietta e Tracollo, in or without. The pieces on “Teutscher There were times when the key- Jordan Hall on Saturday evening. Lustgarten: Music for Drinking­ , board and the recorder weren’t well in In the time of Pergolesi (1710-36), Loving, and Lamenting” made for an sync—not surprising, given how little Italian opera was becoming more enjoyable concert—but one where all rehearsal time they could possibly have tragic; comic elements were no longer were glad that there was no encore. had. After Montoya found out she was included in the main event. However, This was a Festival where a few playing a solo recital, she spent some opera patrons still enjoyed seeing a mainstage artists had begun to use five hours a day playing in the BEMF good farce, so short comic intermezzi electronics instead of paper music opera orchestra! (Bezuidenhout was were inserted between the acts of the (including Ingles here; and on a con- also rehearsing with violinist Rachel main opera. This BEMF performance cert earlier in the week, the King’s Podger for their Friday evening BEMF was a pastiche of two such intermezzi. Singers with iPads). It’s still new event.) The duo’s sense of ensemble BEMF presented this as a “cham- enough to performers that Ingles could improved as the recital went along. ber opera”: costumed singers and some be seen demonstrating it to Teresi. It may not have been quite the staging, but the stage was shared with type of program that Tol or Temmingh the small orchestra of the continuo Sunday, June 18 would have offered. As a closing group, one-on-a-part strings, two Traditionally, recorder enthusiasts are recorder event, however, it did exhibit oboes (Gonzalo X. Ruiz and Kathryn treated to an all-recorder mid-day a sense of “the show must go on” and Montoya, sometimes doubling on recital on Sunday afternoon at the a resilience, of both performers and recorders), bassoon and two natural end of BEMF week. As mentioned, Festival, that surely all could admire. horns. Since over half of the time, the this one had been jinxed: Han Tol and With sincere thanks to these volunteer singers declaimed recitatives accompa- Boreas Quartett Bremen couldn’t get contributors of reports and photos: Laura nied only by continuo, you had to feel visas. A substitute, Stefan Temmingh, Conrad (coordinator), Susan Burns, Alice sorry for even the violins, who spent a was subsequently injured in a bicycle Derbyshire, Greta Haug–Hryciw, Alan lot of time sitting. Maybe a third of the accident. On Tues­day, concertgoers Karass, Anne Kazlauskas, Bonnie Kelly time that the violins played, the score received an e-mail from BEMF. Yet and Daniel Soussan. Additional photos Double coverage: See the another substitute had been found to by Charles Fischer, Sassa Letton and play with keyboardist Kristian Barbara Prescott. Save the dates now for ARS web site for photos and Bezuidenhout Kathryn Montoya extended reports on Boston : . the 20th biennial Boston Early Music Early Music Festival events. Regular patrons have heard her Festival & Exhibition, June 9-16, 2019! play on fringe events (for instance, 16 Fall 2017 American Recorder Compact Disc Reviews ______Aztec Dances and Butterflies

Reviewed by Tom Bickley, The musical languages used are a bit [email protected], http://about.me/tombickley Aztec Dances—new more tame than much of what we hear in works for recorder and soundtracks for television dramas and films. piano. Jill Kemp, recorders; Aleksander Szram, piano. The CD title is drawn from Aztec Dances (2010), Prima Facie PFCD052, 2017, the first work on the disc, a four-movement suite by 1 CD, 70:56. Abt. $19.20 from Edward Gregson (http://edwardgregson.com). This piece www.jillkemp.com/cdsales.html, was inspired by Gregson’s visit to the British Museum abt. $16.35+shipping from http://primafacie.ascrecords.com/ exhibit “Moctezuma—Aztec Ruler,” and especially by aztec_dances.html or $6.39+S&H at www.smile.amazon. the sections on music in Aztec ritual. com. More info available at www.jillkemp.com. In the movements “Ritual/Pastorale,” “Fertility Dance” Five compositions from the 21st century receive and “Sacrificial Dance,” the performers bring to life active thoughtful, musicianly performances on this CD from rhythmic figures and melodies developing from tuneful English recorder player Jill Kemp and her frequent duo gestures. Hemiolas abound in “Fertility Dance.” partner, pianist Aleksander Szram. Kemp studied at the The opening flourishes in “Ritual/Pastorale” prefigure Guildhall School and Goldsmiths College, and with teach- the intense drama of the third movement, “Ghost Song.” ers including Michala Petri and Piers Adams. In 2007 she The rhythms in “Ghost Song” are much freer, and Kemp became the first recorder player to win the Royal Over-Seas makes superb use of fluttertonguing, glissando, and dramatic League Wind and Brass Competition, in its then-57-year articulations, plus whispers of the name “Tezcatlipoca.” history. Moviegoers may have heard her without realizing it, Gregory Rose’s Garden of the Gods (2013) references in films including the Harry Potter series, Philomena and The the first-century B.C.E. concert hall of Agrippa in Athens. Fantastic Mr. Fox (see the description by Adams of the last in The musical language is similar to that of Gregson, with a the November 2010 AR, Bits and Pieces). bit more interplay involving tempo. Rose (www.gregoryrose. The works on this CD present a range of compositional org) is noted as both a composer/arranger and conductor. styles and aesthetics, and strike me as approachable and well His work with standard orchestral repertory, as well as new worth a listen—even, or perhaps particularly, for those who music by John Cage and Karlheinz Stockhausen, is held in may think they don’t like newly-composed music. I hope high regard. In Garden of the Gods, I find the contemplative my comments support each listener’s open-eared encounter quality of the relatively simple melodic material and setting with this recording. of “Love Song” very appealing. One approach is to attend to the virtuosic technique The late David Bedford (www.davidbedfordmusic. that Kemp and Szram display throughout. Another is to co.uk) is the best-known composer here, with a life in music notice the interplay, both compositionally and in the perfor- that spanned both popular and classical worlds. Released in mances, between recorder and piano. Following those path- the anniversary year of his 80th birthday, this CD includes ways of intellectual engagement leads to enjoyment of the one of the last pieces composed by Bedford (1937-2011). emotional and energetic affects of these pieces. As we delight Bedford's piece is, in some ways, the most challenging. in the ebb and flow of activity and rest in early music, we can Kemptown Races (2010; the title is a pun on Kemp’s name) likewise connect to those occurrences in these pieces. sets Stephen Foster’s tune “Camptown Races” in a bracing All five works focus strongly on melody and harmony, set of variations. Foster’s tunes are part of the canon of with clear tonal home bases. The musical languages used are American music for good reason, and the associations with a bit more tame than much of what we hear in soundtracks the American legacy of racism attached to Foster’s work for television dramas and films. reveal the cultural context of his time and issues yet to be

www.AmericanRecorder.org Fall 2017 17 resolved. Both of those aspects must Dank­worth, and performing as a vocal- figure into the reception of Kemptown ist in the ensemble Electric Phoenix, Races, especially for American focusing on avant-garde music. audiences. Cycles is a work of subtlety and Dance Suite (2011) by English spaciousness, with elements of impro- jazz/classical composer/pianist George visation by both recorder player and King (www.georgekingmusic.com) plays pianist. This is another piece dedicated with the long tradition of dance move- to Kemp and Szram. Stunning, yet ments, with sections titled: “Dub,” “Jig,” thoroughly musical, use of extended “Minuet” and “Bebop.” All four reso- techniques brings vibrancy to the work. nate with King’s extensive work with The tone colors of both instruments classical and jazz repertories. yield a shimmering texture (the piano This suite, like Kemptown Races, sound is thoughtfully modified via was written for Kemp and Szram. The playing technique and preparation music is quite danceable, and the per- of its bass strings). formers embrace that quality with The recording by Raphaël appropriate vigor. Mouterde presents a clear stereo image To my ears, the most substantive of the instruments. Notes by Andrew work—considering both composition Mayes add a great deal to the value of and its performance here—is Cycles this CD. I wish the notes provided (2013). It is by English composer/ detail on which of the listed recorders performer Daryl Runswick (www. (Mollenhauer, Elhert and Moeck) darylrunswick.net), another composer were used in which movement. on this CD celebrating a birthday, his This is a compelling recording 70th. Runswick spent years touring that invites listeners to a satisfying with jazz giants Cleo Lane and John engagement with new works.

18 Fall 2017 American Recorder Lépidoptères: recorders, system, and fixed sounds. Terri Hron, recorders; Hron and Adkins use Monty Adkins, electronics. Empreintes relatively acoustically Digitales IMED16136, 2016, 1 CD, 43:00. Abt. $21.50 from www.electrocd.com/en/cat/imed_16136; sound simple sounds of each samples, program notes, etc., available at that URL. More info available at www.birdonawire.ca and recorder and transform https://montyadkins.wordpress.com/albums/lepidopteres. them, in ways analogous A recording for adventuresome listeners, Lépidoptères demonstrates exciting virtuosity in both the live recorder component and the digitally-processed sound. to the changes from Canadian recorder player Terri Hron and English composer Monty Adkins collaborated in this project, with both sharing the composer/performer roles. caterpillar through Hron studied musicology and art history at the University of Alberta, chrysalis to butterfly. recorder performance and contemporary music at the Amsterdam Conservatory, and electroacoustic composition at the Université de Montréal. She just com- pleted a postdoctoral fellowship at Wesleyan University. “Lepidoptera” is the order of insects of which butterflies and moths are a part. Adkins and Hron use the title as reference to the transformation of the sounds of the recorder. Move­ ments 1 and 3-5 are each named for a particular species of butterfly or moth. Over the course of the 43 minutes of the CD, listeners hear a varied stereo soundscape with familiar and unfamil- iar sounds of recorders in a consort (C great bass up to G alto) built by Adriana Breukink (www.adrianabreukink.com). The sonic textures are active, and, like a vibrant ecosystem, include sounds from very low pitch to very high. The effect evokes listening to an imagined gestalt of the sound world of Lepidoptera via a sort of acoustic microscope. More concretely, Hron and Adkins use relatively acoustically simple sounds of each recorder and transform them, in ways analogous to the changes from caterpillar through chrysalis to butterfly. Samples of each movement are available on the Electro CD web site above, and merit hearing rather than being described. The transformative nature of the pieces carries through in the duo's CD performances, which vary in each iteration. Tracks 1 and 4 include live digital processing of the recorders played by Hron; tracks 3 and 5 have

www.AmericanRecorder.org Fall 2017 19 American Recorder Society Publications recorded soundscapes with live recorder; track 2 uses live recorder Musical Editions from the Members’ Library: processed in real time plus a recorded Additional hard copies may be ordered: ARS Members, $3; non-members, $5 (including U.S. postage). Please ask about discounts for multiple copies. ARS Members may also download at the ARS web site. soundscape. Algunos lugares 1 (A solo) Marcelo Milchberg Little Girl Skipping and Alouette et al Hron’s nuanced use of extended Arioso and Jazzy Rondo (AB) Carolyn Peskin (SATBcB) Timothy R. Walsh Belmont Street Bergamasca (ATB) Sean Nolan Los Pastores (S/AAA/T + perc) techniques (e.g., rich chords produced Berceuse–Fantaisie (SATB) Jean Boivert Virginia N. Ebinger, arr. by overblowing as well as simultane- Blues Canzonetta (SATTB) Steve Marshall Lullaby (AATB) and Cake Walk (SATB) from Bruckner’s Ave Maria (SSATTBB) Suite for Recorder Quartet Hildegard Erle ous singing and playing) demonstrates Jennifer W. Lehmann, arr. Mere Bagatelle IV (AAA/T) Anthony St. Pierre Canon for 4 Basses (BBBB) David P. Ruhl New Rounds on Old Rhymes (4 var.) Erich Katz cutting edge technique, and creates a Dancers (AT) Richard Eastman Nostalgium (SATB) Jean Harrod common timbral language shared Danse de Village (SAB) Kevin Holland Nottasonata No. 1 (SATB) Daniel Thrower Danse from Primodal Episodes (SATB) Other Quips (ATBB) Stephan Chandler between the digital output and the John Winiarz Poinciana Rag (SATB) Laurie G. Alberts Different Quips (AATB) Stephan Chandler Santa Barbara Suite (SS/AA/T) Erich Katz acoustical sound. Elegy for Recorder Quartet (SATB) Sentimental Songs (SATB) David Goldstein, arr. Having enjoyed this stereo Carolyn Peskin Serie for Two Alto Recorders (AA) Elizabethan Delights (SAA/TB) Frederic Palmer version of Lépidoptères, I now long Jennifer W. Lehmann, arr. Slow Dance with Doubles (2 x SATB) Faded Memories/Opus 88 (ATBB/SATB) Colin Sterne to experience the richness of a live William Ruthenberg Sonata da Chiesa (SATB) Ann McKinley Fallen Leaves Fugal Fantasy (SATB) S-O-S (SATB) Anthony St. Pierre performance using multiple arrays Dominic Bohbot 3 Balkan Line Dances (SATB) Emilie George, arr. of speakers. The sound is exceptional Four Airs from “The Beggar’s Opera” (SATB) Three Bantam Ballads (TB) Ann McKinley Kearney Smith, arr. Three Cleveland Scenes (SAT) Carolyn Peskin on this release; the information in Gigue (SATB) Thomas Van Dahm Three Dutch Folktunes from Hollantse Boeren- Gloria in Excelsis (TTTB) Robert Cowper lieties en Contredansen (SAAT/AAAA/ATTB) the packaging (including Will He Talks, She Talks (AT) Bruce Perkins Victor Eijkhout Howie’s description of the audio Havana Rhubarb Rhumba (SATB up to Three in Five (AAB) Karl A. Stetson 7 players) Keith Terrett Tracings in the Snow in Central Park (SAT) recording process) and the packaging Idyll (ATB) Stan McDaniel Robert W. Butts Imitations (AA) Laurie G. Alberts Trios for Recorders (var.) itself are artful and engaging. Cover In Memory of Andrew (ATB) David Goldstein George T. Bachmann art by Rachel Crummey fittingly In Memory of David Goldstein (SATB) Triptych (AAT/B) Peter A. Ramsey Will Ayton Two Bach Trios (SAB) William Long, arr. welcomes the listener to this Jay’s Pyramid Scheme (SATB) Jay Kreuzer Two Brahms Lieder (SATB) Lay Your Shadow on the Sundials (TBgB) Thomas E. Van Dahm, arr. documentation of a remarkable Terry Winter Owens Variations on “Drmeš” (SATB) Martha Bishop project. Leaves in the River (Autumn) (SATB) Vintage Burgundy (S/AS/ATT) Erik Pearson Jennifer W. Lehmann, arr. LeClercq’s Air (SATB) Richard E. Wood Western Union (ATBgB) Peter Dixon Woodland Whimsy (SATB) Gary Betts ZIP Code Boogie (SATB) Charlotte Van Ryswyk ARS Information Booklets: ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 Non-members: 1 booklet-$18, 2 booklets-$33, 3-$44, 4,$55, 5-$66, 6-$76, 7-$86 *Free online to ARS members Adding Percussion to Medieval and Improve Your Consort Skills Susan Carduelis Peggy Monroe Music for Mixed Ensembles *American Recorder Music Constance Primus Jennifer W. Lehmann Burgundian Court & Its Music *Playing Music for the Dance Louise Austin Judith Whaley, coord. *Recorder Care Scott Paterson Education Publications Available Online and Free to Members The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). Guidebook to the ARS Personal Study Program (1996). ARS Music Lists. Graded list of solos, ensembles, and method books.

Videos Available Online to All Recorder Power! Educational video from the ARS and recorder virtuoso John Tyson. An exciting resource about teaching recorder to young students. Pete Rose Video. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recital. The video features Rose performing a variety of music and in an interview with ARS member professional John Tyson.

Other Publications Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering forming an ARS chapter. ARS members, $10; non-members, $20. One free copy sent to each ARS chapter with 10 members or more. Consort Handbook. Available Online and Free to Members. Resource on consort topics such as group interaction, rehearsing, repertoire, performing.

Shipping & Handling Fees: Under $10 - add $3; $10-19.99 - add $4; $20-29.99 - add $5; $30-39.99 - add $6; $40-49.99 - add $7. All prices are in U.S. dollars. For Canadian or foreign postage, pay by credit card and actual postage is charged. Please make checks payable to ARS. VISA/MC/AMEX/Disc also accepted. See www.AmericanRecorder.org for complete publication offerings. ARS, P. O. Box 480054, Charlotte, NC 28269-5300; tollfree 1-844-509- 1422; 866-773-1538 fax; [email protected]

20 Fall 2017 American Recorder Education ______The Recorder Takes a Stand ______at a Transitional Housing Facility in Columbia, SC

Warren Hughes, a freelance writer and to allow for a more in-depth experi- The Suzuki movement is a world- member of Trinity Cathedral, spoke with ence. The students, ages 9 to 13, were wide network dedicated to making Mary Halverson Waldo, Education not auditioned for the classes, but were music education available to all chil- Department Editor for AR, and wrote chosen simply because they showed an dren, with an ever-widening collection the initial version of this article for the interest. “As a long-time Suzuki music of instruments and approaches. The September/October 2017 issue of teacher, my experience is that everyone Suzuki Association of the Americas Columbia Living Magazine, has talent and this inborn talent simply provides programs and services www.columbialivingmag.com. needs to be nurtured. Of course, work throughout North and South America. Before the concert last spring, is always involved too,” said Waldo. Waldo has been on the faculty of insti- the young girls clustered around their teacher, Mary Halverson Waldo. The mostly pre-teen students were unchar- acteristically silent, awed by the gran- deur of Trinity Cathedral, where they would perform in a musical program. Their instruments were recorders. After their performance, students smiled broadly, parents beamed deserv- edly, the audience applauded enthusias- tically, and their teacher and conductor nodded approvingly with pride. Since music education for all is a guiding principle for Waldo, she seized the opportunity last winter to introduce the recorder to children in Columbia, SC, who would not otherwise have access to instruction. The inner-city students reside at St. Lawrence Place, a housing site for families in transition. It is supported by Trinity Cathedral, the seat of the Episcopal Diocese of Upper South Carolina, where Waldo’s husband, Andrew, is bishop. She explained. “The students connected with ‘Homeless No More at St. Lawrence Place’ were fascinated to discover how much attention to precision is required in playing simple melodies with a really good sound,” she recalled with a smile. The housing program provides a stable setting for up to three years, ensuring the continuity essential for music study, with twice-weekly lessons www.AmericanRecorder.org Fall 2017 21 Mary Halverson Waldo flanked by students at the concert; she is also below with the Broad River Renaissance Band: (l to r) Andre­w Waldo (substitute for Kunio Hara) and Anthony Coyne. Previous page: Carrie Graves stands behind girls’ group, waiting to add an alto line to their consort piece (at bottom left, from behind, James Knight of BRRB). tutes and festivals sponsored by Suzuki Associations at a young age. Raised in the genres of Classical, Romantic throughout the Americas and in Europe. and contemporary music, she attended a college where pro- “People learn in different ways and at different rates of fessors were uniquely dedicated to music of the Baroque, speed, but everyone can learn,” she explained. The method is Renaissance and Medieval eras. “When it came time for named for its Japanese founder, Dr. Shinichi Suzuki, who graduate school, I chose to pursue a degree in Performance­ believed all people who have learned to speak their own lan- of Early Music at New England Conservatory of Music. guage can also learn to express themselves through music. This included studies in recorder, transverse flutes and other His goal was to develop noble human beings and world early instruments, along with historical dance and musicol- peace through the inspiring, common language of music. ogy,” she added. It involves the support of family and community, learning Her decision proved to be destiny in more ways than through listening, and working for beautiful sound from one. “My husband and I met at NEC, and we have enjoyed the very start. many years of performing and teaching together in a variety Waldo was assisted by honors music students at the of settings. We still find time to do concerts now and then, University of South Carolina through its Communities­ in especially when it involves playing with colleagues and fam- Harmony program for underserved populations. The after- ily members in the splendid acoustics of Trinity Episcopal school staff at St. Lawrence Place also had an important role. Cathedral.” Before starting lessons, the students and their parents were The couple came to Columbia in 2010, after Andrew required to sign a covenant committing to attendance, prac- was elected Eighth Bishop of the Diocese of Upper South tice, instrument care, and mutual respect for all participants. Carolina. Before being ordained in 1988, Bishop Waldo was Was it always easy? “By no means,” she said. a performing musician, choral conductor and conservatory In praising her students, Waldo said, “I’ve seen delight, faculty member, specializing in Renaissance, Baroque and enthusiasm, hard work, dedication, the ability to listen, contemporary art music. eagerness to help each other and pride as members of a For the Waldos, music is a family affair. “Our three sons team. These are invaluable life skills.” were involved in music throughout their school years, along The students performed in a spring concert alongside with the other activities of childhood. We knew it was an an intergenerational group of local recorder players. Several important formational experience and our job as parents was members of the Broad River Renais­ sance Band had practiced consort arrangements of the young students’ rep- ertoire. In the performance, they accom- panied the St. Lawrence Place students along with other Suzuki recorder stu- dents. “It was wonderful to hear the beautiful results of hard work well done,” Waldo said. As a musician who has played and taught around the world, Waldo appreci- ates the value of being exposed to music 22 Fall 2017 American Recorder to help keep the inspiration alive. As Technique Tip adults they are still making music, and Learn to Love the Metronome one now does it for a living,” she said. Yet another family connection is with “I love my metronome,” says almost nome with an actual piece of music. Mary’s sister Patricia Halverso­ n, a viola no one. We are much more likely to Furthermore, when it is time to da gambist who is a founding member complain about it. attempt playing music with a metro- of Chatham Baroque. Why is this? In many cases, we nome, this work can serve as a useful Expanding educational opportuni- haven’t been taught to properly engage bridge. ties and improving the lives of others with the metronome. Or we attempt For example, speaking the are shared values for the Waldos. to do too much too soon—keeping rhythm of a phrase with the metro- Andrew is recognized for his leadership up with clicks that are too fast while nome several times, immediately in the South Carolina Bishops’ Public playing music we haven’t yet fully before playing it, can help to solidify Education Initiative (an ecumenical mastered. In this Technique Tip, your rhythmic confidence when it initiative including the A.M.E., we offer suggestions to help players comes time to play. A.M.E. Zion, C.M.E, Episcopal, use this handy little device more Moving past successfully playing Lutheran, Roman Catholic and United effectively—and joyfully. to a click and into the realm of truly Methodist Churches), advocating edu- Of course, “metronomic” perfor- internalizing the beat is a bit more cation equity in South Carolina. It has mance is not the end goal—effective difficult for some and very difficult raised thousands of volunteers to serve playing does involve some tempo and for others. However, we can still use as tutors and mentors in South Caro­ rhythmic fluctuation—but successful the metronome as a springboard to lina public schools. It also works to playing does require a well-developed build skill in this area. After you are establish higher and more equitable sense of internal rhythm. Interestingly, able to play to a click, try the following standards of education for all of the neuroscience research has found that next steps. Set the metronome to: state’s children. different parts of the brain are used • click every other beat Inspired by programs elsewhere to synchronize to a metronome and to • click only on off-beats that are similar to the one at St. Law­ generate an internal pulse. This com- • click once per bar, or once rence Place, Mary Halverson Waldo plicates things—but building musical every two bars, four bars, etc. explained how she uses her particular skill is never a simple process! • gradually fade (beats slowly talents to support these goals. “My Your first task if you're a beginner disappear at a rate you set) vision is to continue building a studio or have difficulty with rhythm is to Because these metronome which involves students from all walks increase your comfort with the metro- settings force you to maintain an of life who, by working together, nome. Picking up a recorder and internal beat while offering periodic develop a love for the sound of the immediately trying to play with the external “reality checks,” they can help recorder.” beat is not advisable. Instead, begin to you develop a more reliable internal embody the pulse, and then various pulse. rhythms, by clapping, tapping or In order to try out these exercises, speaking in time with the metronome. you’ll need a metronome or a metro- Once you become comfortable clap- nome app that can beat very slowly ping various divisions of the beat, and can silence specific beats, and/or playing a single pitch or a limited can execute graduated fading. Many Honeysuckle Music number of pitches to the beat inexpensive metronomes don’t offer becomes easier. these features. The Time Guru app Recorders & accessories The next step is to play the same (for iOS or Android) is an option with ... exercise at various tempos. Practice many of these capabilities. Music for recorders & using slow, as well as progressively The metronome isn’t a torture Jean Allison Olson faster, tempi. In fact, playing to a device—it’s a tool. Like any tool, 1604 Portland Ave. slow beat is often more difficult it serves best when used with St. Paul, MN 55104 than playing to a speedier pulse. respect—and care! 651.644.8545 These preparatory exercises are [email protected] often the kind of work that must be By Beverly Lomer, Lighthouse Point, FL, done before you can pair the metro- and Anne Timberlake, St. Louis, MO

www.AmericanRecorder.org Fall 2017 23 Hans PoserBy Joseph A. Loux, (1917-70) Jr. his year marks the and centennial the of German “New com- Music” poser Hans Poser’s birth. Such a milestone year andT new material recently brought to light offer the opportunity to make some of his fine dances known to a wider circle of recorder players. Joseph A. Loux, Jr., holds a Ph.D. Hans Wolfgang Poser was born on October 8, in musicology and is senior editor of 1917, in Tannen­bergsthal,­ a small town in Dovehouse Editions Canada and the near the border of the present . Loux Music Company. Both are based During his study at the high school in Auerbach, in Hannacroix, NY. He is also the he excelled in his study of music theory. Artistic Director of the Adirondack Poser’s studies abruptly ended in 1937, just Baroque Consort, formed in 1962; before World War II, when he was drafted into the see www.abconsort.org. army. He was captured on a reconnaissance mission by British forces in 1940 and sent to a prisoner of war camp in Canada. While interned there, he was able to continue his music studies—as well, through efforts of the YMCA and other aid to German war prisoners, he acquired instruments, Photo of Hans Poser and Day Book and directed the camp orchestra and smaller musical ensembles. entries used in this article are courtesy of At the end of the war, in 1946, he returned to Germany, settling in Hamburg. the composer's son, Florian W. A. Poser. His formal music studies continued at the Schule für Musik und Theater under Manuscript pages are used with the E.G. Klussmann and Wilhelm Bruckner-R­ uggeberg. Over the years, the quality kind permission of Hans Sikorski of his compositions and of his pedagogical technique led to career advancement. Music Publishers, www.sikorski.de. In later years, he headed the music theory and composition department at Ham­ burg's Hochsc­­ hule für Musik. He died in Hamburg­ on October 1, 1970, at age 52. In many ways a self-taught musician, Poser was influenced by his regular cor- respondence with , then in Switzerland (1938-45), concerning Hindemith's newly published Unterweisung im Tonsatz (The Craft of Musical Composition), and with Hermann Grabner, author of a theory and textbook, Der lineare Satz. Ein neues Lehrbuch des Kontrapunktes. Each composer/ music theorist was in the forefront of the "New Music" movement. Internment gave Poser his opportunity to focus his study on music theory, including his correspondence with Hindemith and Grabner. While conservative in his lyricism, Poser explored in his compositions the effect of rhythm and alter- native harmonization on the melodic line. His list of compositions includes If you like Hans Poser, orchestral and choral music, and television scores—but most is chamber music, you might also like ... including five opus numbers containing recorder works. Popular when written, www.americanrecorder. his works demonstrate an engaging style of composition, refreshing even today. The page at Rendsburger Tänze org/docs/RenBar0997.pdf Along this line, two of his quartets— , Op. 42, and lists a few Wandsbeker Tänze, Op. 49—are worthy of a second look from recorder players. 20th-century recorder ensemble works worth learning—Carolyn Compositional Technique Peskin's suggestions in a Q&A Poser writes about his compositional technique in his “Introduction” to his Tanze­ Department for AR, September büchlein (Moeck Verlag; English translation by Marie-Luise Carreño-Maas): 1997. Longer lists, incorporating Since its beginnings (around 1910), the New Music clearly shows its intention other instrumentations such as aside from further harmonic differentiation to discover the elementary strength of recorder and piano, can be found in melody and rhythm. Names like Hindemith, Stravinsky and Bartok are representa­ publications such as Eve O'Kelley's tive in this regard. Today, these composers can be counted among the classics of the book, The Recorder Today (Cam­ New Music, and nobody would even think of calling their music contrived or arti­ bridge University Press, 1990), avail- ficial, as was done in the past. The rhythmical energies revived by them are ancient able at https://smile.amazon.com. and are independent of any respective musical culture or progressive development. 24 Fall 2017 American Recorder Let us recall: The meter (measure) signifies the regular repeat of accents within a time frame; rhythm is the partic­ ular figure of movement superimposed on the meter. For instance, jazz has a rela­ tively simple meter but complicated rhythms. As in poetry, “free rhythm” in music can be independent of the meter. Thus, the boundaries become blurred. The rhythmical figure, the motive, becomes the element which determines constant varia­ tion, addition, contraction, expansion, and development of the musical progression. This process can be relatively simple when—seemingly paradoxically—the irregular is used regularly (with Bartok the so called Bulgarian rhythm, continu­ ously 3+3+2 eighths; also 3+2+3, etc.). However, the change can also hap- pen according to certain plans (building design). For instance, Boris Blacher has used such “variable meters” in various piano and orchestral works. Among others he used the term (name) “ornament” thus indicating the constructive design. In gen­ eral the ornament can represent a piece of stylized nature; music can be seen as the creative expansion of basic rhythmic pro­ cesses. With an increasing number of equal values (e.g., 2+3+4+5+6 eighths), we can speak of a metric increase (crescendo) or its Rendsburg Dances, Op. 42 opposite decrease (diminuendo). Other Poser’s Day Book for July-August, 1957 (top), in the possession of his son metric variants are created—e.g., by Florian, indicates that his eight dances for recorders, Op. 42, had various per- inserting an upbeat note (out measures), formances in November 1957 led by H. Wagner. Hermann Wagner is expansion, contraction, or progression.” described by Florian via e-mail as “one of the old POW friends of my father. I In my e-mail correspondence in 2016 believe he lived in the city of Celle, lower Saxony, where he was working as a with Hans Poser’s son, Florian W.A. Poser, music teacher at a grammar school.” An additional Day Book note in the he writes, “...my father was very practical composer’s hand indicates a December 22 live string performance on the and [a] demand-oriented musician. As far West German Radio. In the “Foreword” to the published collection, Poser as I know, both [collections were] written suggests performance options as noted on the first page of the manuscript for or during musical upgrade training (above). He further notes that the dances were in part created during the East courses [that] took place in the city of German Music Festival of 1957 in Rendsburg, Schleswig-Holstein. The opus Rendsburg and one in the Hamburg was published in the following year by Hans Sikorski of Hamburg as edition District of Wandsbeck.” number 410 of the Neue Vokal- und Instrumental Musik Series.

www.AmericanRecorder.org Fall 2017 25 Wandsbek Dances, Op. 49 may be available through Moseler Verlag or Sikorski. Again Poser’s Day Book (top) mentions that the seven Check with ARS Business Members or your favorite dances of Op. 49 (manuscript at right) had a change of name. music retailer. Rather than the initial Dance Music for Four Instruments, he notes a “New Title: Wandsbek Dances, 7 pieces for 4 voices Ollesch, Jürgen. Hans Poser: Leben und Werk. Dissertation, for recorders, strings or instruments ad libitum.” Universität Bielefeld, 1996. In German. A principal In 1960, these dances won for him the first prize of 700 source for this article. marks from the Fritz Jöde-Stiftung Endowment. He also Wagner, Hermann. Hans Poser, 1917-1970: Werkverz. notes in the Day Book that he signed a publishing contract [Hamburg] : [Arbeitskreis Musik in der Jugend], 1972. with Sikorski on January 2, 1961. The collection appears as In German. Available at https://books.google.com/books/ number 419 in the same series as the Op. 42. about/Hans_Poser_1917_1970.html?id=pjhdGwAACAAJ. Familiarity with Poser’s method of composition allows the performer to look past the notes on the page to the spirit of the dances, featuring the strength of melody and rhythm. The collections have been perennial favorites among European and Japanese recorder players. Surprisingly, these dance collections representing the “New Music” are relatively unknown in North America. I hope bringing attention to Poser's centenary will cause more recorder players to play his works.

Partial Resource List Poser, Hans. Rendsburger Tänze, Op. 42, for Recorder Quartet. Musikverlag Hans Sikorski SIK410, 1958. ______. Wandsbeker Tänze, Op. 49, for Recorder Quartet, strings or other instruments. Musikverlag Hans Sikorski SIK419, 1961. ______. Tanzbüchlein, for SSA recorders. Moeck ZfS216, 1956. H. Poser's Op. 42 and Op. 49 have been recorded on CD by the Adirondack Baroque Consort, www.abconsort.org. The Moeck catalog contains a dozen works by Hans Poser—duets and trios to SATB (some may be out of print); visit www.moeck.com/en/publishing/ sheet-music.html?page=78. Other works

26 Fall 2017 American Recorder Music Reviews ______One more Poser piece, ______holiday music and folk song arrangements

TANZSTÜCK, by Florian This charming trio is that adds interest to each new iteration Poser. Loux Music LMP-149 of the motive, as well as side commen- (www.recordershop.com), 2016. a delightfully easy read, tary and other departures. SAT. Sc 4 pp, 3 pts 2 pp ea. $7.95. The change in meters is the most Florian Poser (b. 1954) is the son suitable for the most challenging feature—but because the of composer Hans Poser (1917-70), note values remain constant and the whose 100th birthday is celebrated casual afternoon music is mostly step-wise with occa- with an anniversary article in this issue. playing session with sional arpeggio leaps, sight-reading This charming trio is a delightfully flows easily for intermediate players, easy read, suitable for the most casual intermediate players ... even at faster tempi. afternoon playing session with inter- The piece almost fits on AAT mediate players and up, to a perform- of each triplet accented in the 6/8 mea- with one alto player reading up an ing ensemble seriously working on it sures and occasional staccato markings octave and the other reading at pitch; for a concert at the recommended on the quarter notes in the 3/4 mea- the only exception is one measure of tempo of =125. sures. Although highly repetitive high F -G-A triplets in the soprano q # The music is built on an alternat- rhythmically, there is a clear story arc part, which is not feasible on alto. No ing 6/8 + 3/4 meter, with the first note

www.AmericanRecorder.org Fall 2017 27 ossia passage is offered but that measure could be played down an octave and not break the spell. Renowned recorder teacher and Much of the music sits low on the soprano and tenor, workshop leader Peter Seibert has frequently requiring an accented low C and D, which can be tricky not to crack if you really dig in and commit to playing composed contemporary settings of those notes strongly. Most of the music is marked mf, but four late Medieval carols, one famous there are instances of ff and pp. The edition is very clearly typeset with comfortably Renaissance tune, and a set of wassails. large notes in the parts, each of which is just two pages. The score is a single folio nested inside the parts, and the actual The final movement, The Wassails, is a medley of four cover of the publication is on the back of the soprano part. of these tunes: from Gloucestershire, Yorkshire and Somer­ This is a piece to always have ready, perfect for those set, plus the well-known Here We Come A-Wassailing. This times when you want to make pleasant music without finale gets progressively busier, providing a rousing conclu- necessarily working too hard. I would present it at a playing sion to the suite. session, for a chapter or other group, at a slower speed and This well-produced and thoughtfully-edited collection gradually increase the pace on second reading. will make a satisfying addition to an intermediate or Glen Shannon is a member of the East Bay (CA) Recorder advanced intermediate ensemble’s holiday repertoire. Society and has served the ARS as Editor of the Members’ Anne Fjestad Peterson has a Bachelor of Arts in music edu­ Library Editions since 2003. He is also a composer of recorder cation from Concordia College, Moorhead, MN, and a Master of ensemble music, which he publishes himself, and which is avail­ Music in music history from the University of Colorado. She has able at www.glenshannonmusic.com and several popular outlets taught private and class recorder in Boulder, CO, since 1974 and in the U.S., Europe, Australia, Japan and Taiwan. has performed since 1980 with the Boulder Renaissance Consort, for which she arranges music. S uite No. 2 on Early Carol Tunes and Wassails from the English Tradition, Christmas Carol Medley (ADVENTS- UND by Peter Seibert. PRB Productions Contemporary WEIHNACHTSLIEDER- MEDLEY), arr. Adrian Consort Series CCO82 (www.prbmusic.com), 2015. Wehlte. Edition Floeno No. 1001 (www.edition-walhall. SATB. Sc 20 pp, 4 pts 7 pp ea. $20. de/en), 2016. AAT. Pts 3 pp ea. Abt. $9. Renowned recorder teacher and workshop leader Peter This medley includes five Christmas carols familiar to Seibert has composed contemporary settings of four late those with German roots, but perhaps not familiar to most Medieval carols, one famous Renaissance tune, and a set of Americans. The carols set in this trio include Es Kommt ein wassails—all set for SATB recorder consort. The pieces are Schiff, Geladen (A ship is coming laden); Maria Durch ein intended to be played as a suite, but each one can easily stand Dorn­wald Ging (Dear Mary journeys through the thorn); alone. Lobt Gott, ihr Christen, Allzugleich (Praise God, ye Christians, Lullay—Als I Lay on Yoolis Night provides a short, easy all together); Leise rieselt der Schnee (Snow falls softly at introduction to the suite, in a flowing 6/4 meter with only night); and Macht hoch die Tür (Lift up your heads, ye mighty mild dissonance. Tenor players will enjoy being given the gates). Two of these carols can be found in the Lutheran melody line in the middle section. Hymnal: Lobt Gott and Macht hoch die Tür. Greensleeves also stars the tenor in the first run-through Adrian Wehlte is a flutist and recorder player born in of the melody; after that the tenor and alto toss it back and Switzerland. He graduated from the State Universit­ y of forth. The final section becomes more difficult, with contra- Music and Performing Arts Stuttgart, and teaches at puntal eighth-note passages in all parts except the bass. Antonio Rosetti Music School in Wallerstein, Germany. Verbum caro factum est: In hoc anni circulo is set with a He has published several student methods for recorder. nod to the Medieval practice of parallel organum and also The medley begins in 3/4 time in the key of C with an has a few sections in which the melody is supported by a introduction into the first carol, Es Kommt ein Schiff, Geladen. drone in one or more parts. My players appreciated the cue This is an Advent attributed to Johannes Tauler and notes where they had long sections of rests. one of the oldest religious songs of German origin, found in Angelus ad Virginem and Nova! Nova! are more disso- a manuscript dated before 1450. It uses the image of a ship nant than the previous three movements. Despite the rec- coming into harbor with precious cargo for Mary, bearing ommended tempi, these two settings shouldn’t present too Jesus. Part of the way through the carol the time signature many technical problems for intermediate players; Seibert changes to common meter, then returns to 3/4 when the knows the recorder intimately and writes music that “lies introductory section is repeated. under the fingers” well. 28 Fall 2017 American Recorder After a short transition and a key FIVE CHRISTMAS CAROLS, by Arthur Seymour Sullivan, These Christmas Carols change to Bb, Maria Durch ein Dorn­ wald Ging is played through twice. arr. Dagmar Wilgo. Edition were composed or arranged This Christmas carol was popularized Walhall EW774, (www.edition-walhall. by Sir Arthur Sullivan de/en in the song books of the German ), 2016. SATB. Sc 18 pp, pts (1842-1900), primarily Youth Movement at the turn of the 3 pp ea. Abt $17. 20th century. These Christmas carols were com- known for the series of comic There is a bridge of 12 measures, posed or arranged by Sir Arthur operettas he composed ... and a key change into G, for Lobt Gott, Sullivan (1842-1900), primarily known ihr Christen, Allzugleich, a carol com- for the series of comic operettas he (1572-1637), with a new melody line posed by Nicolaus (or Nikolaus) composed with William Schwenck composed by Sullivan. Actually this Herman (c.1480-1561) and first pub- Gilbert. carol setting comprises two tunes, with lished in 1560. Five measures of transi- Only one tune of these carols one melody used for the first and sec- tion and a time signature change to 6/4 might be familiar to American ears. ond verse, and a different one for the lead into Leise rieselt der Schnee. This The other four are more common in third verse. It then returns to the origi- carol was based on a poem by Eduard the United Kingdom. All five offer nal melody for the fourth verse, with Ebel (1839-1905) and is one of the original, late Romantic choral arrange- a much more highly developed harmo- most popular carols in Germany, each ments for those tired of the usual nization. This is the most complex verse ending with the refrain “Rejoice, repertoire. arrangement and fun to play. Christ child comes soon.” Arranger Dagmar Wilgo Noel has the familiar text for After the second time through studied recorder at Robert Schumann It Came Upon the Midnight Clear, writ- Leise rieselt der Schnee, there is a four- Hochschule in Düsseldorf, Germany, ten by Hamilton Sears (1810-76), then measure bridge leading to the key and HKU University of the Arts, the pastor of the Unitarian Church of F and Macht hoch die Tür. The Utrecht, The Netherlands. She is the in Wayland, MA. The tune Noel used words to this carol by Georg Weissel editor of Klangfarbe und Farbklang: with this arrangement by Sullivan is (1590-1635) are based on Psalm 24, Festschrift zum 85 (with Conrad Stein­ commonly paired with these words in with music by Johann Anastasius mann, available in German), com- the UK. It also appears in some U.S. Freyling­hausen (1670-1739). In the memorating the 85th birthday of hymnals as an alternative tune, so closing section the time signature is noted virtuoso recorder player Americans may recognize it, though again common meter. Hans-Martin Linde (born 1930). most would be more familiar with the This arrangement is a simple Wilgo has also arranged 10 of tune Carol. This arrangement also has presentation of the five carols, with Sullivan’s part songs for recorder two final chords to play an “Amen” the melody in the top line, going up to quartet (Edition Walhall EW601). after the final verse. high Eb. The second line provides har- The words for the first carol, The final carol, Upon the Snow- mony, and is the most challenging of All This Night Bright Angels Sing, Clad Earth, is Sullivan’s original tune all the parts. The third line is often in were adapted from a poem by William and harmonization to a six-verse poem the low end of the tenor range, and rel- Austin (1587-1634). This setting has of an anonymous author. It is a simple atively insignificant, not even playing a pleasant tune, which would be easy to carol, easy to sing with evocative words, for a third of the piece. teach to singers. The first and second and deserves more use. The typesetting uses many repeat verse have a simple harmonization, All of these carols are homophonic signs, with notes or rests on either side while the third verse is more elaborate. in structure, with the melody in the top of the measures, which can be confus- The words for the second carol, line and the other parts accompanying. ing. There is no score. The parts are all Bethlehem (or Gabriel), are more famil- They would be appropriate for a low printed with large easy-to-read notes iar to Americans as While Shepherds intermediate group, since the music on heavy paper, with the top-line part Watched Their Flocks by Night, written uses only simple rhythms, and the on the even heavier paper that provides by Nahum Tate (1625-1715). However, range falls mostly in the middle of a printed cover to hold all three parts. the tune here is Bethlehem, not com- each instrument. This medley would be most monly heard in the U.S. This arrange- The preface of this edition is in enjoyed by players who already know ment includes two final chords to play German, and only partially translated the carols, and could best be played by an “Amen” after the third verse. into English. two altos. Though the tenor line can be The words for I Sing the Birth Was These pieces are recommended for added, it does not contribute much to Born To-night are from Ben Jonson those who want to explore some differ- the piece. www.AmericanRecorder.org Fall 2017 29 Christmas Fantasia, by ent and less familiar Christmas fare. ... new and different They would be interesting mixed into a Lindsay P. Higgs. SMP Press concert of other Christmas music. Christmas repertoire. S0.154263 (www.sheetmusicplus.com/ title/christmas-fantasia-digital-sheet- Europe for Advanced While the edition is intended music/20330803), 2010. SATTB. Musicians: 16 GREAT for “advanced musicians,” it would be Sc 6 pp, pts 1 p ea. Available as .PDF CHRISTMAS SONGS, Vol. 2, appropriate for upper intermediate download. $8.95. arr. Dagmar Wilgo and Nico students—yet most of these pieces This is a fun and easy-to-play Oberbanscheidt. Edition Walhall would not be out of the reach of inter- piece that mixes up fragments of seven EW925 (www.edition-walhall.de/en), mediate players who are willing to use different Christmas carols and songs. 2015. SA (one-two instruments, voice, the CD to learn the more complex The two-minute piece premiered in etc.), pf or guitar. Play-along CD incl. rhythms. Often the second/alto line is the village of Blewbury in Oxfordshire, Sc 55 pp, pt 18 pp. Abt. $26. the musically more challenging of the UK, during a Christmas concert in the This collection includes a song two, since the first/soprano line always local church there. Lindsay Higgs is each from 16 countries or provinces, plays the carol tune. a guitar teacher in Oxfordshire, and including Armenia, Spain, Ireland, This collection is recommended to has composed for guitar, strings and Styria (a province of Austria), Norway, all who want to explore new and differ- recorder, and also authored a ukulele Switzerland, Denmark, Germany, ent Christmas repertoire. method book. Sweden, Portugal, Finland, France, The Fantasia begins with the first Estonia, Italy, Croatia and Bulgaria. tenor line starting Ding, Dong Merrily The arrangers have chosen relatively on High, with the second tenor soon unknown songs in a variety of styles coming in a step lower, then the and different periods, with the inten- soprano taking the tune. Gradually tion of expanding the standard reper- all parts join with their own version toire and learning about the different of the tune. European cultures. At the beginning of the Gloria In each piece, the top line carries section, the first tenor again starts, the melody and is underlaid with the with other parts joining until they text of the first verse in the native lan- end with the final chord. The soprano guage, using the Armenian alphabet then offers Good King Wenceslaus, with for the Armenian song, and Cyrillic other parts in canon—but, at the end alphabet for the Bulgarian song. of the first stanza, it switches to God German translations are included for Rest Ye Merry Gentlemen for a few mea- each one. sures and then returns to Good King The second line varies in its role Wenceslaus for a few more measures, for each piece—sometimes playing then on to Go Tell it on the Mountain. closely along with the melody and The next section includes a at other times joining the keyboard. mixture of phrases from different Guitar chords are provided in both recognizable carols. After that, the the keyboard score and the separate first few measures of O Come, O Come part book for the two recorders. Emmanuel begin, followed by a reprise A CD is included that has four of Ding Dong, Merrily on High, a frag- tracks for tuning a soprano and an alto ment of Hark the Herald Angels Sing, recorder, then each song has two sepa- and finally a few measures of Jingle rate tracks. The first track demonstrates Bells—before wrapping up into the the full score including the recorder final chord. lines and the keyboard accompaniment. This piece would be appropriate The second track includes just the key- for intermediate level players. It is board, starting with a series of clicks to downloaded from the web site of set the tempo so the recorder players Sheet Music Plus, which has a publish- can play along with the recorded ing arm through SMP Press, https:// accompaniment. smppress.sheetmusicplus.com/about.

30 Fall 2017 American Recorder The downloaded .PDF file can be Those who have enjoyed arrangements are appealing. The notes viewed, played from a digital device, or make explicit what is implicit in the printed. The web site notes that the music itself: these were made for ele- “digital download will have a water- the first two volumes will be mentary school children—intermediate mark at the bottom of each page that and upper intermediate players. They will include your name, purchase date eager to add this one to their hew to traditional harmony and and number of copies purchased.” rhythms, with just a tiny bit of spice. Bruce Calvin started playing recorder Christmas music selections. They sound good as trios, but in college some unspecified number of years might be even better in a recorder ago, and has reviewed videos and books As usual with Cheap Trills, the orchestra. The edition is attractive for professional library publications over presentation is clear and attractive, without being extravagant. the years. He and four others meet weekly with parts supplied for tenor viols as Suzanne Ferguson is active as an in the Wash­ington, D.C., area to play well as for recorders. early musician in Ft. Myers, FL. She recorders. The group enjoys Renaissance Those who have enjoyed the first served on the ARS Board in the 1980s through con­temporary music, performing two volumes will be eager to add this and is past president of the Viola da occasionally for special church events. one to their Christmas music selec- Gamba Society of America. tions. On the off chance that players CHRISTMAS LETTERS, Vol. III, missed either of the first two collec- Old English Songs, arr. by Will Ayton. Cheap Trills TR87, tions, they are TR70 (T’was in the Ronald J. Autenrieth. Moeck 2015. SATB. Sc 8 pp, 6 pts 4 pp ea. Moon of Wintertime, I Wonder as I ZfS829/830 (www.moeck.com/en), $11.50. Wander, Immortal Babe) and TR81 2013. SAT. 3 sc, 6 pp ea. Abt $6.50. These two carol arrangements are (Hush, My Dear, A Virgin Unspotted, Ronald J. Autenrieth was born in the most recent of Will Ayton’s Christ­ This is the Truth). Weingarten/Baden in 1959 and grew mas Letters to be published for general up in Offenburg, in southern Baden in release by Cheap Trills: from 2011, his MICHAEL FINNEGAN MEETS Germany. He studied church music setting of Blessed Be That Maid Marie, THIS OLD MAN: A COLLECTION in Rottenburg and Ravensburg. As a and from 2012, The Wexford Carol OF RECORDER TRIOS BASED member of the Program Advisory (“Good people all, this Christmas time, ON TRADITIONAL BRITISH Board of the Society for New Music Consider well, and bear in mind, What TUNES, arr. Deborah Porro. in Weingarten/Ravensburg, Autenrieth our good God for us has done, In Peacock Press P509, n.d. [2008?]. has played a major role in organizing sending his beloved son ...”). SSA, SAT. Sc 15 pp, 3 pts 6 pp ea. concerts of contemporary music in the Will Ayton was born in 1948 Abt. $9.30. Bodensee region in Upper Swabia. in Kansu province, China, of mission- In addition to the opening Besides recorder music, Autenrieth ary parents. He received a bachelor quodlibet of Michael Finnegan and (www.ronald-autenrieth.de) has written of music education degree from This Old Man, the other folk songs for organ and piano, chamber music Shenandoah Conservatory of Music, found here are Scarborough Fair, and choral pieces including some quite a master of music education degree Alawon Fy Ngwlad, The Sailors demanding works like his . from New England Conservatory of Hornpipe, MacPherson’s Farewell and Since 1991, Autenrieth has lived Music, and a doctor of musical arts in Buttered Peas. As most of them (and in the Heidelberg area, where he works composition from Boston University. in particular the Welsh one) aren’t very as a reviewer, arranger, choral director, He currently lives in Providence, RI. familiar to American recorder players, pianist and composer. As with the previous volumes a synopsis or sample of the poems Despite Autenrieth's solid back- (Vol. I, TR70, reviewed in the Winter would be welcome here. ground in Germany, this is a collection 2012 AR), Ayton sets the original tune But the edition itself makes of six English songs, some of which for solo singer (or recorder, or viol), and clear the spirit of each piece, and the date back to the 18th century. accompanies it with a polyphonic trio in the lower parts based on fragments KEY: rec=recorder; S’o=sopranino; S=soprano; A=alto; T=tenor; B=bass; gB=great bass; of the tune woven together in a supple 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; texture that is “through-composed” hc=harp­sichord; P&H=postage/handling. Multiple reviews by one reviewer are fol­lowed for each new verse. The text of all the by that review­er’s name. Publi­ca­tions can be purchased from ARS Business Members,­ your local music store, or directly from some distributors. Please submit music and books for verses is printed in both the score and review to: 7770 S. High St., Centennial CO 80122 U.S., [email protected]. the soprano recorder part.

www.AmericanRecorder.org Fall 2017 31 The edition is well organized, as the unofficial anthem for the county such as having a singer or small including a score for each player and of Cornwall. The melody line is vocal ensemble alternate with a foreword in English, French and primarily in the soprano, although the instruments. German. Additionally, the editor has the alto has a significant part of the Irene Rosenthal holds a B.A. in provided extensive notes about the melody as well. The piece does have music from Arizona State University history of each song in all three a “national anthem” feel—and indeed, and did graduate work in musicology at languages, as well as complete texts web searches for “Cornish National the Uni­versit­ y of Chicago. Even though in the original English. Anthem” bring up various arrange- she has sung and also played piano, harp­ On the River Dee was originally ments of this song, primarily for sichord and guitar, the recorder is her published in 1782 and has the feel of male chorus. instrument of choice. She has taken lessons, a Siciliano in D minor, although it An old English sailing song that workshops and master classes with many has a bright and cheerful affect. The predates its first publication in 1914, well-known performers. She lives in main melody moves among the lines, Cape Clear (Whip Jamboree) starts Phoenix, where she plays with the Canis so that each of the players has a chance out with all three lines in unison before Firmus Trio and performs as a guest with to play both melody and supporting they split off into harmony. The tune a variety of local ensembles. harmonies. consists of an eight-bar phrase in Classified rate for American Recorder: 60¢ per Oh, Paddy Dear (Wearing of the A minor, which is repeated four times word, 10-word minimum. “FOR SALE” and Green) is an Irish ballad that nearly in different iterations, twice giving a “WANTED” may be included in the copy without counting. Zip code is one word; everyone will recognize. It dates from substantial solo to the bass line. phone, e-mail or web page is two. Payment around 1798 and is a protest song Farewell to old England (Botany must accompany copy. Deadlines are one month before issue date. Send copy about an English policy against wear- Bay) is a song that dates back to 1776. with payment to: ARS, P. O. Box 480054, ing the shamrock. In spite of the some- The song was sung by convicts being Charlotte, NC 28269-5300. what unhappy lyrics, the song has an transported to Botany Bay in Australia. upbeat feel that will make you feel like The piece is cheerful, despite the sad Consider advertising in it’s St. Patrick’s Day, no matter when subject matter. The melody line is you play it. played twice through, the first time Lowlands, Lowlands is a very brief led by the soprano and the second sea shanty from Cornwall, first pub- time by the alto, with an important For current rates and specifications, see http://americanrecorder.org/advertise_ lished in a 1914 collection; its melody and interesting line for the bass. with_ars.php. Please inquire about discounts has a Celtic flavor. The alto part is very This very pleasant collection is on multiple-issue contracts or other special requests. Advertising subject to acceptance soloistic, with the soprano and bass suitable for upper intermediate and by magazine. Reservation Deadlines: joining in to support short cadential higher-level ensembles. Most of the January 1 (Spring), April 1 (Summer), phrases. pieces would be accessible to a sophis- July 1 (Fall), October 1 (Winter). According to the editor, What ticated school ensemble, and the For more information, contact the ARS office,P. O. Box 480054, Charlotte, NC Cornish Lads Can Do (Trelawny) dates inclusion of the lyrics allows for 28269-5300; 704-509-1422; tollfree from 1861 and came to be regarded some creative performance possibilities, 1-844-509-1422; 866-773-1538 fax; [email protected]

American Recorder (ISSN 0003-0724) is published 4 times a year, February (Spring), Advertiser Index May (Summer), August (Fall), November (Winter), by American Recorder Society, Inc., 3205 Halcott AMERICAN ORFF-SCHULWERK ASSN...... 21 Ln, Charlotte, NC 28269-9709. Periodicals Postage Paid at Charlotte, NC, and additional mailing offices. POSTMASTER: Send address changes to American Recorder, PO Box 480054, Charlotte, NC AMERICAN RECORDER SOCIETY . . . . . 1, 19, 20, 32 28269-5300. $38 of the annual $50 U.S. membership dues in the ARS is for a subscription to AMHERST EARLY MUSIC FESTIVAL...... 3 American Recorder. JEAN-LUC BOUDREAU, RECORDER MAKER. . . . . 18 HIDDEN VALLEY EARLY MUSIC INSTITUTE ...... 20 Editorial Deadlines: December 15 (Spring), March 15 (Summer), June 15 (Fall), and HONEYSUCKLE MUSIC ...... 23 September 15 (Winter). Submission of articles and photographs is welcomed. Articles may be sent LISETTE KIELSON RECORDER PLAYER...... 7 as an attachment (.doc or .rtf preferred) or text in an e-mail message. They should be for the exclusive BILL LAZAR’S EARLY MUSIC...... 18 consideration of AR, unless otherwise noted. Articles, reviews and letters to the editor reflect the LOST IN TIME PRESS...... 27 viewpoint of their individual authors. Their appearance in this magazine does not imply official MAGNAMUSIC ...... 13 endorsement by the ARS. The ARS reserves the right to publish any submitted magazine content on MOECK VERLAG...... IFC the ARS web site. By submitting material to be published in a printed issue of AR, American Recorder’s MOLLENHAUER RECORDERS...... OBC editors and authors grant the America Recorder Society permission to use their material in this addi- PRESCOTT WORKSHOP...... 9 tional manner. Photos may be sent as prints, or unedited JPG or 300dpi TIF files (minimum 3”x4”). THE RECORDER SHOP...... 24 Advertisements may be sent in PDF or TIF format, with fonts embedded. GLEN SHANNON MUSIC ...... 27 Editorial office: Gail Nickless, Editor, [email protected], 7770 South High St., TEXAS TOOT...... 3 Centennial, CO 80122-3122. Books and Music for review: Editorial office. Recordings for review: VERY GOOD RECORDER TRANSCR...... 18, 30 Tom Bickley, 1811 Stuart St., Berkeley, CA 94703. Cutting Edge: Editorial office. Chapter newsletters, VON HUENE WORKSHOP, INC...... 10 other reports: Editorial office, Publisher's office. YAMAHA CORP...... IBC

32 Fall 2017 American Recorder