Bergen County Chapter American Recorder Society January 2017

Chapter News Next Meeting: For our January meeting we corded for numerous labels Date Coach Wednesday welcome back Larry Lipnik including EMI, Angel, Nim- January 11, 2017 as our guest conductor. bus, Virgin, Sony, Koch In- 2/8/17 Deborah Booth At 8:00PM Lawrence Lipnik has per- ternational and Cantaloupe, 3/8/17 Pat Neely formed with many acclaimed and has been a frequent mu- Meetings are held at: early music ensembles from sical collaborator with artist April No meeting Congregation Adas Emuno ARTEK and Anonymous 4 William Wegman. to Piffaro and the Waverly 4/29/17 Workshop 254 Broad Avenue This month Mary will be Consort, and is a founding bring the “eats” and John has 5/17/17 Susan Hellauer Leonia, NJ 07605 member of the viol consort volunteered to bring the Parthenia and vocal ensem- 6/14/17 Adas Emuno drinks. There is a $10.00 suggested ble Lionheart. In addition to Concert? donation for non-members. performing, he is co-director Please take note of the date of the New York Recorder in April for our annual work- Mor. Also note that there For Information contact: Guild, enjoys a busy teach- shop. We already have four will be no regular chapter ing schedule which has in- great teachers lined up: Val- Reita Powell, President meeting in April. cluded national and interna- erie Horst, Deborah Booth, 201-944-2027 tional festivals. He has re- Larry Lipnik, and Daphna [email protected]

Carl Peter, Editor 201-837-1071 [email protected]

Composer of the Month Jean [Giovanni] de Macque madrigaletti, one of motets, and, a quantity of keyboard Guest (c.1550 - 1614) music; this last combined a boldness of modulation (as in Conductor French composer. A pupil of Consonanze stravaganti) Philippe de Monte at the with contrapuntal resource Imperial court in Vienna, he from his northern training in Larry spent much of his life in It- ingenious toccata and can- aly, in Rome from 1568 and zona movements. He was the Lipnik in Naples from 1586. There most outstanding of those he served the Prince of Flemish madrigalists who Venosa (Gesualdo's father), worked in southern Italy. was organist at SS. Annun- www.hoasm.org ziata in 1590, and from 1594 served the royal chapel as music. He wrote fourteen organist and later director of volumes of madrigals and January 2017 Bergen County Chapter Page 2 American Recorder Society

The Cornamuse The cornamuse was clearly same or a similar instrument described by Praetorius, and to the cornamuse, and yet the is yet a mystery in these name is often intermingled modern times, because none with the dulzan or dulzian of have survived to the present the curtal families. These and because of the confusion two names were sometimes of instrument names at the used in the same sentence, as time. Different names which in an ensemble consisting of were used for similar instru- dolzaina, cornamuse, shawm ments and similar names and mute cornett. used for different instru- Praetorius stated that the ments. The name cornamuse cornamuse has no keys. They from the Latin cornamusa came in several sizes, each commonly meant bagpipe as having a range of a ninth in the French cornemuse. similar to other reed-cap The use of the name dolza- ina, from the Latin dulcis instruments. (sweet), is thought to be the www.music.iastate.edu

Funny Quotes by Musicians “My music is best understood by children and animals.” ― Igor Stravinsky “There are two golden rules for an orchestra: start together and finish together. The public doesn’t give a damn what goes on in between.” ― Thomas Beecham “It’s easy to play any musical instrument: all you have to do is touch the right key at the right time and the instrument will play it- self.” ― Johann Sebastian Bach “In order to compose, all you need to do is remember a tune that nobody else has thought of.” ― Robert Schumann www.mymusicmasterclass.com

Music in the Renaissance

By about 1500, European art Low Countries, France, and companying a vocal line. masses and motets, but in a music was dominated by Italy led to what could be Josquin’s music epitomized seemingly endless variety of Franco-Flemish composers, considered an international these trends, with Northern- styles. His secular output the most prominent of whom European style. On the one style intricate polyphony included settings of courtly was Josquin des Prez (ca. hand, polyphony or mul- using canons, preexisting French poetry, like Du Fay, 1450–1521). Like many tivoiced music with its hori- melodies, and other composi- but also arrangements of leading composers of his era, zontal contrapuntal style tional structures smoothly French popular songs, instru- Josquin traveled widely continued to develop in com- amalgamated with the Italian mental music, and Italian throughout Europe, working plexity. At the same time, bent for artfully setting frottole. for patrons in Aix-en- harmony based on a vertical words with melodies that Provence, Paris, Milan, arrangement of intervals, highlight the poetry rather http://www.metmuseum.org Rome, Ferrara, and Condé- including thirds and sixths, than masking it with com- sur-L’Escaut. The exchange was explored for its full tex- plexity. Josquin, like Du Fay, of musical ideas among the tures and suitability for ac- composed primarily Latin