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summer 2016 V ol. LVII, No. 2 • www.americanrecorder.org Published by the American Recorder Society, Recorder American the by Published

Editor’s ______Note ______Volume LVII, Number 2 Summer 2016 Features

aise your hand if you understood The Recorder Windway Demystified ...... 9 the parts of your recorders that were By Thomas M. Prescott Raffected the last time you had one revoiced? Or do you have a recorder that really needs Departments work? If you understand its inner workings Advertiser Index ...... 32 6 better when you next have repair work done on the business end of your recorder, thank Book Reviews ...... 16 master craftsman Tom Prescott for his arti- Friedrich von Huene, David Lasocki demystifying the windway cle on (page 9). and Aemilia Bassano Lanier Like the Roman god Janus, recorder players look over their shoulders at the past, Compact Disc Reviews ...... 24 but also look to the future. This issue has a Dreamy CDs by Cléa Galhano and John Turner number of reports showing the recorder in Music Reviews Education ...... 27 that dichotomy. In , we ¡Qué maravilloso! Flauta de Pico en Mexico 9 read about Baroque music and recently- with Mary Halverson Waldo composed neo-Baroque works (page 28). Past meets future again as Renais sance band Music Reviews...... 28 Piffaro moves further into the virtual age Glen Shannon's compositions, plus others Google Cultural Institute with (page 4). from the Baroque and earlier In "On the Cutting Edge" (page 19), a conversation between frequent columnist On the Cutting Edge...... 19 Gustavo de Francisco and Karel van Gustavo de Francisco talks about Modern recorders Steenhoven includes the latter's thoughts with Karel van Steenhoven 19 Modern recorder on the , which is being President’s Message ...... 3 more thoroughly explored and developed in ARS President David Podeschi invites Europe as the recorder's future. More of that Chapter Representatives to Breakfast interview is posted on the ARS web site. With spring's arrival, and with summer Tidings ...... 4 workshops and festivals upon us, those of us Piffaro included in Google Cultural Institute; Flanders who love the recorder feel the promise of the Recorder Quartet in New York City; Frances Feldon future in an instrument with a rich past. speaks on jazz/rock recorder players at "Musicking": Gail Nickless Dark Horse Consort plays Spanish music; former 27 www.youtube.com/user/americanrecordermag ARS Board member Ron Cook honored by www.facebook.com/groups/177397989075511/ Early Music America

Gail Nickless, Editor ON THE COVER: Photo by William Contributing Editors Stickney of Vicki Tom Bickley, Compact Disc Reviews Sue Groskreutz, Book & Music Reviews • Mary Halverson Waldo, Education Boeckman's recorders: Amanda Pond, Line Editor Denner and Bressan copies (1989 & 1992) Advisory Board by the late Fred Morgan Martha Bixler • Valerie Horst • David Lasocki • Bob Marvin © 2016, American Thomas Prescott • Kenneth Wollitz Recorder Society www.AmericanRecorder.org Copyright©2016 American Recorder Society, Inc. ARS Chapters & Recorder Orchestras Alabama Illinois North Carolina Birmingham: Chicago: Carolina Mountains: Susan Hartley Janice Williams 205-870-7443 Ben Eisenstein 847-998-0198 423-612-0421 Arizona Chicago–West Suburban: Greenville Recorder Society: Joanne Miller 630-464-1828 John Shaw 252-355-2737 Desert Pipes (Phoenix): Indiana Triangle: Jan Jenkins 919-870-0759 AMERICAN Karen Grover 623-687-4791 Arizona Central Highlands–Prescott: Recorder Orchestra of the Midwest: Ohio RECORDER Georgeanne Hanna 928-775-5856 Marilyn Perlmutter 419-265-3537 Greater Cleveland: Tucson: Scott Mason 520-721-0846 Edith Yerger 440-826-0716 SOCIETY Arkansas Louisiana Toledo: Charles Terbille 419-474-6572 Baton Rouge: Aeolus Konsort: Oregon INC. William Behrmann 225-766-9465 Don Wold 501-666-2787 New Orleans: Victoria Blanchard Eugene: Lynne Coates 541-345-5235 Honorary President California 504-810-8540 Oregon Coast: Corlu Collier 541-961-1228 Erich Katz (1900-1973) Barbary Coast Recorder Orchestra: Maryland Frances Feldon 510-527-9029 Portland: Zoë Tokar 971-325-1060 Honorary Vice President Northern Maryland: East Bay: Susan Jaffe 510-482-4993 Pennsylvania Winifred Jaeger Richard Spittel 410-242-3395 Inland Riverside: Bloomsburg Early Music Ens.: Greg Taber 951-683-8744 Massachusetts Statement of Purpose Susan Brook 570-784-8363 Los Angeles Recorder Orchestra: Boston: The mission of the American Recorder Society Matt Ross 949-697-8693 Erie: Linda McWilliams 814-868-3059 Henia Yacubowicz 978-857-7418 Philadelphia: Sarah West 215-984-8923 is to promote the recorder and its music by Mid-Peninsula Recorder Orchestra– Recorders/Early Music Metro-West Palo Alto: Fred Palmer 650-591-3648 Pittsburgh: developing resources to help people of all ages Boston: Bonnie Kelly 781-862-2894 Helen Thornton 412-486-0482 Nevada City: Worcester Hills: and ability levels to play and study the recorder, Miriam Morris 530-265-0986 Alan Karass 508-847-8559 Rhode Island presenting the instrument to new constituencies, North Coast: Kathleen Kinkela-Love 707-822-8835 Michigan Rhode Island: encouraging increased career opportunities for Orange County: Ann Arbor: David Bojar 401-944-3395 professional recorder performers and teachers, Mary Van Cott-Hand 562-598-8947 Kevin Gilson 734-780-7476 Tennessee Redding: Kay Hettich 530-241-8107 Kalamazoo: Greater Knoxville: Ann Stierli and enabling and supporting recorder playing as Sacramento: Mark Schiffer David Fischer 269-375-0457 828-877-5675 a shared social experience. Besides this journal, 916-685-7684 Metropolitan Detroit: Greater Memphis: San Diego County: Molly Sieg 313-532-4986 ARS publishes a newsletter, a personal study Samuel Sidhom 901-848-1955 Vanessa Evans 619-297-2095 Northwinds Recorder Society: program, a directory, and special musical San Francisco: John MacKenzie, M.D. 231-547-7072 Greater Nashville: editions. Society members gather and play Greta Haug–Hryciw 415-377-4444 Western Michigan: Carol Vander Wal 615-226-2952 Southern Middle Tennessee–Tullahoma: together at chapter meetings, weekend Sonoma County: Jocelyn Shaw 231-744-8248 Dale Celidore 707-874-9524 Minnesota Vicki Collinsworth 931-607-9072 and summer workshops, and many South Bay: Liz Brownell 408-358-0878 Texas ARS-sponsored events throughout the year. Southern California: Twin Cities: Anne Mundahl 651-895-5049 Austin: Derek Wills 512-471-3424 In 2014, the Society celebrated 75 years Ricardo Beron 818-782-0710 Colorado Nevada Dallas: Alice Derbyshire 940-300-5345 of service to its constituents. Fort Worth–Cowtown Recorder Boulder: Trudy Wayne 303-651-6860 Las Vegas: Buddy Collier 702-610-6148 Society: David Kemp 940-224-7896 Colorado Recorder Orchestra: Sierra Early Music Society: Rio Grande: Board of Directors Rose Marie Terada 303-666-4307 Kathy Bohrer 775-393-9002 Marcia Fountain 915-544-3427 David Podeschi, President Denver: Jon Casbon 719-799-6630 New Hampshire Fort Collins: Pattie Cowell Utah Ruth Seib, Vice-President 970-484-0305 Monadnock: Utah Salt Lake: Jennifer Carpenter, Secretary and Kristine Schramel 413-648-9916 Mary Johnson 801-272-9015 Connecticut & Lynn Herzog 802-254-1223 Communications Chair Vermont Connecticut: New Jersey Nancy Buss, Interim Treasurer John Vandermeulen 203-810-4831 Monadnock: Bergen County: Alice Derbyshire, Educational Outreach, Eastern Connecticut: Betty Monahan Kristine Schramel 413-648-9916 860-536-7368 Mary Comins 201-489-5695 & Lynn Herzog 802-254-1223 Grants and Scholarships Chair District of Columbia & Reita Powell 201-944-2027 Virginia Nancy Gorbman Highland Park: Washington: Donna Messer 732-828-7421 Northern Virginia: Tony Griffiths, Member Benefits Daniel Bruner 202-669-3388 Montclair Early Music: Edward Friedler 703-425-1324 and Engagement Chair Delaware Julianne Pape 845-943-0610 Shenandoah–Charlottesville: Princeton: Gary Porter 434-284-2995 Mollie Habermeier Brandywine: MaryJoan Gaynor 609-924-8142 Roger Matsumoto 302-731-1430 Tidewater–Williamsburg: Greta Haug–Hryciw New Mexico Vicki H. Hall 757-784-2698 Florida Laura Kuhlman Albuquerque: Washington Barbara Prescott, Fundraising Chair Ft. Myers: Sue Groskreutz Bryan Bingham 505-299-0052 239-676-5968 Moss Bay: Cynthia Shelmerdine Flat & Baroque in Las Vegas: Michael Bancroft 206-523-6668 Largo/St. Petersburg: Tom Curtis 505-454-4232 Recorder Orchestra of Puget Sound: Anne Timberlake Elizabeth Snedeker 727-596-7813 Rio Grande: Charles Coldwell 206-328-8238 Miami: Ruth Trencher 305-665-3380 Marcia Fountain 915-544-3427 Seattle: Laura Faber 206-619-0671 Staff Orlando Consort: Santa Fe: Cheri Grayson 407-299-3076 John O’Donnell 505-662-5745 Wisconsin Susan Burns, Administrative Director Palm Beach: New York Julia Ward, Administrative Assistant Beverly Lomer 954-592-2852 Milwaukee: Carole Goodfellow Sarasota: Buffalo: Bonnie Sommer 716-662-5975 262-763-8992 P. O. Box 480054 Charlotte Trautwein 941-504-9594 Hudson Mohawk: Southern Wisconsin: Charlotte, NC 28269-5300 Georgia Kathryn Kuhrt 518-477-8450 Greg Higby 608-256-0065 704-509-1422; tollfree 1-844-509-1422 Long Island: Canada Atlanta: Mickey Gillmor 404-872-0166 Patsy Rogers 631-734-7485 866-773-1538 fax Hawaii New York City: Gene Murrow Edmonton: Vince Kelly 780-436-9064 [email protected] 646-342-8145 Merrie Pipers Rec. Orch.–Kelowna, BC: Hawaii: Irene Sakimoto 808-734-5909 Bruce Sankey 250-766-1550 Big Island: Recorder Orchestra of New York: www.AmericanRecorder.org Montréal: Mary McCutcheon Roger Baldwin 808-935-2306 Karen Wexler 631-751-5969 In accordance with the Internal Revenue Service West Hawaii Recorders: Rochester: Jessica Brennan 514-271-6650 Taxpayer Bill of Rights 2, passed by the United States Marilyn Bernhardt 808-882-7251 585-683-2802 Toronto: Sharon Geens 416-699-0517 Congress in 1996, the American Recorder Society makes Idaho Rockland: Jacqueline Mirando Vancouver: freely available through its office financial and 845-624-2150 Tony Griffiths 604-222-0457 incorporation documents complying with that regulation. Les Bois–Boise: Westchester: Erica Babad Kim Wardwell 360-202-3427 914-769-5236 Please contact the ARS office to update chapter listings. 2 Summer 2016 American Recorder President’s Message ______Greetings from David Podeschi, ARS President [email protected]

write this message upon returning Come for breakfast! To learn these answers, the first from our spring Board meeting held step is communication, so we have re- inI April in beautiful Portland, OR, How can the ARS better launched our chapter liaison program. hosted by the welcoming members of serve chapters, consorts Getting this off the ground with just the Portland Recorder Society, so & recorder orchestras? e-mails has been less effective than our discussions there are on my mind. hoped, as everyone is busy, buried in And as a retired retailer I tend to think from the ARS. This year we’d like to e-mails—and nothing beats face-to- in terms of serving the customer, and focus on our group affiliates. face communication. our primary customers are clearly the As a result of last year’s member To this end we are initiating a members and the chapters, consorts benefits survey, we’ve learned more series of conversations with ARS and recorder orchestras (CCRO). about what members want: Chapter Representatives, starting with The key discussion topic was how • American Recorder magazine a breakfast meeting and mini-play-in the ARS can better serve our CCRO • Personal grants and scholarships at the Berkeley (CA) Festival in June, affiliates. Over the past year we fielded • The Personal Study Program, to which all Chapter Reps (or their a member benefits survey and focused still valuable to members delegates) are invited. Of course, we our efforts on understanding and deliv- • The newly-created Traveling hope the west coast will be well-repre- ering what individual members want Teacher Program, which adds sented, but all reps are welcome. We needed instruction hope to repeat this event at the Boston Also, our mission of promoting (MA) Early Music Festival next year. the recorder, its music and the Even if you are reading this after recorder community and support the breakfast has taken place, I urge for local chapters ranked high on you to talk to your Chapter Rep about the survey. The questions then are: the ARS-CCRO relationship and What does your chapter need what ARS can do—and be sure your from the ARS? What would group gets an update on the breakfast make your chapter life better? discussion afterwards.

www.AmericanRecorder.org Summer 2016 3 Tidings ______Piffaro goes virtual, Ron Cook honored, and ______Flanders Recorder Quartet in New York City

Piffaro includedThe Metroin politan­Google Opera, Carnegie Cultural Institute Hall, the John F. Kennedy Center for the Performing Arts and American Ballet Theatre. The Google-led effort seeks to make art available far beyond concert hall or performance space. Piffaro's Google exhibit was curated by Sharon Torello from content Joan created by artistic co-directors Robert Wiemken Kimball and Robert Wiemken, and , dulcian, recorder, Shannon Cline percussion, krumhorn (also in photo at executive director . Christa Patton For the next phase of its Google left); , shawm, harp, bagpipe, recorder, krumhorn; Joan exhibition, Piffaro will document many Kimball activities of its October 2016 festival , shawm, dulcian, recorder, bagpipe, krumhorn (also at left); the late Google Cultural Institute showcasing "The Musical World of Tom Zajac The has Don Quixote." This multidisciplinary , sackbut, recorder, bagpipe, launched a new online exhibition Philadelphia pipe & tabor, krumhorn, percussion; event also includes the Greg Ingles of over 60 of the world’s foremost Museum of Art, the Rosenbach (photo above, seated) , sack- cultural institutions, which includes Museum and Library but, recorder, krumhorn, percussion; Piffaro, The Renaissance Band and others. Grant Herreid Piffaro plans "to make Don Quixote , lute, guitar, recorder, (2015 recipients of the ARS Distin­ come alive through the music heard shawm, percussion, krumhorn (also at guished Achievement Award). The in his time." left). The Google Institute pages for “Piffaro – Introductions” exhibit pro- Piffaro also include guests Garrett Piffaro members appearing in the Lahr, Liza Malamud Adam vides photos, music and videos that online effort are: (back row, l to r, at and describe the group and its period Priscilla Herreid Breg­man, sackbut; photos by William right above) , shawm, DiCecca Sharon Torello instruments, allowing those who can- recorder, dulcian, bagpipe, krumhorn; and ; and not attend early music concerts to see video by Glenn Holsten. and hear the instruments online. To view the exhibit, visit https://www. Peacock Press of the UK has purchased all publishing rights to Province­ google.com/culturalinstitute/collection/ town Bookshop Editions. Ruth Burbidge of Peacock Press (shown here piffaro-the-renaissance-band. some years back with the late Joel Newman of Provincetown Bookshop) com- Google's online performing-arts mented that she is particularly project is based on collaborations with pleased as she has "very happy 60 of the world’s foremost cultural memories of music visits, over organizations. Piffaro is among 13 many years, to Dr. Joel Newman American arts groups partnering with in Provincetown on Cape Cod." Google's launch, which also includes A list of titles, which can be obtained from www.recordermail.co.uk or American distributors, is at: www. recordermagazine.co.uk/PBE.pdf. Peacock Press also now owns the music and assets of Oriel Library.

4 Summer 2016 American Recorder Bits & Pieces tional projects for children or adults by techniques for all of the instruments," ensembles and individual artists. Said reports Bickley. Cook, "My entire working life as a law- Bickley and his wife/musical part- yer has involved devoting all the time ner Nancy Beckman, shakuhachi, also I can muster to studying, performing, performed as contemporary music duo teaching, and lecturing and writing "Gusty Winds May Exist " with ’ cellist about early music and instruments.... Gael Alcock on April 14 in the drop- To receive an award for engaging in in music/tranquility room of Campo­ the activities I have so enjoyed is vida in Oakland, CA. The solos and Frances Feldon recently presented certainly an unexpected bonus." trio improvisations included move- a paper at an academic conference A frequent speaker and writer ments from Bach ’cello suites, tradi- entitled “Musicking,” sponsored by on early music topics, with a current tional meditations for Moyen shakuha- the early music department at the emphasis on the historical harp, Cook chi flute, and an electronic composition University of Oregon-Eugene. Her has taught recorder at workshops and by Bickley. paper, “The Surrealistic Recorder: as an adjunct instructor at the music Based in Austin, TX, Recorders Pop and Jazz Recorder Players from conservatory at Capital University in without Borders collects recorders and the 1960s to the Present,” is based Columbus, OH, and he has appeared shares these durable instruments with on a series of interview articles pub- as a recorder soloist with a variety of children in developing countries; visit lished in American Recorder. ensembles. Videos of his performance http://recorderswithoutborders.org for “Musicking” is a new musicologi- reconstructions of three Medieval lais information. About 2,250 recorders cal term that implies the inclusion of are posted at New York University’s have been distributed. The nonprofit all aspects of making music: playing “Performing Medieval Narrative” web recently sent Nicole Stevens and jazz and pop recorder is a perfect site, http://mednar.org/?s=Ron+Cook; Kathy Hatch to teach in Kenya. example. The recorder’s expressive they are used in English, French and Members of the Broad River voice in jazz and rock music reflects humanities courses at colleges and Renaissance Band, under the direction contemporary culture generally, while universities around the country. of Mary Halverson Waldo, played at keeping a distinct flavor of its own. Tom Bickley played recorders on the University of South Carolina Feldon’s research includes primary March 13, the final day of the four-day (USC-Columbia) in April, for several source material in the form of oral his- Signal Flow Festival at Mills College “First Folio” events honoring the 400th tory. She has interviewed American in Oakland, CA. Bickley played contra anniversary of William Shakespeare’s jazz and rock recorder players active bass and alto in a part written for him death. Consort music of 16th- and from the 1960s to the present, and in Berths I-IV for winds and percussion, early-17th-century England was pre- gathered their recordings. Information John McCowen's thesis composition. sented by the group, who are USC fac- includes biography and training, per- The composer, a recorder player and a ulty and students (l to r below: Taylor sonal musical aesthetics, and recordings clarinetist, wrote an "effective, pre- Gable, Jonathan Trott­er, James Knight, for the following players: Art Baron cisely-notated work that employed Craig Kridel, Kunio Hara and Mary with Duke Ellington’s big band (AR, microtonal harmonies and extended Halverson Waldo). September 2007); Terry Kirkman with hit 1960s rock band The Asso­ ciation (September 2005); LaNoue Davenport with Medieval Jazz Quartet and rock band AutoSalvage (November 2009); jazz recorder and drumming artist Eddie Marshall (January 2005); and contemporary jazz recorder virtuoso Tali Rubinstein (interview article in AR upcoming). Former ARS Board member and treasurer Ron Cook is recipient of Early Music America's Laurette Goldberg Award for outstanding achievement in outreach and/or educa- www.AmericanRecorder.org Summer 2016 5 Recorders in New York City me) as an anonymous Danza alto Chamber Recorder Orchestra “La Spagna.” The program's second Workshop with FRQ Members By Anita Randolfi, New York City, NY half featured Baroque music by Boismortier, Henry Purcell, Vivaldi By Mike O’Connor, New York City, NY On December 12, 2015, at the and J.S. Bach. Especial­ ly notable was an arrangement of “Concerto Taking advantage of the presence of Morris-Jumel Mansion in upper Flanders Recorder Quartet Manhattan, Brooklyn Baroque L’Estate” (Summer)­ from Vivaldi’s the (recorder, violin, ’cello, harpsichord The Four Seasons, featuring astonish- (FRQ) for a February 7 concert at the and soprano Marguerita Krull) ingly rapid double-tonguing. Frick Collection in New York City, NY, gave a holiday concert of music by Bach’s Passacaglia, BWV582, was 11 recorder players met at Second Tele­mann, Joseph Bodin de Bois­ the final piece on FRQ's program in a Presbyterian Church on Manhattan’s mortier, Dietrich Buxtehude­ and splendid arrangement for alto, tenor, Upper West Side on February 8 for an Gregory Bynum bass and great bass recorders. As an all-day one-to-a-part workshop with Vivaldi. is the Tom Beets encore, Flanders Recorder Quartet two FRQ members, and ensemble's able recorder player. Joris Van Goethem The Flanders Recorder moved closer to our own time, in a . The principal Quartet (Tom Beets, Paul Van Loey, charming low recorders rendition piece played was Ralph Vaughan Joris Van Goethem, Bart Spanhove) of the jazzy You Made Me Love You. Williams’s English Folk Song Suite, appeared at the Frick Collection on On April 9, in the Grace Rainey arranged for chamber recorder orches- February 7. This is a truly virtuoso Rogers Auditorium of the Metro­ tra by Stan Davis. The original is ensemble that employs a vast array politan Museum of Art, the brilliant scored for 23-piece military band. of recorders from the smallest Venice Baroque Orchestra offered Players registered online for up to to the largest. a program of concerti by Corelli, six parts they would be willing to play, The first half of the program Vivaldi and Handel. Recorder players then the leaders assigned and sent parts comprised Renaissance music, some Anna Fusek and Priscilla Herreid two-and-a-half weeks in advance to be www. as familiar as Tielman Susato’s Mille were featured in several of the pieces. studied closely. Recordings at YouTube.com Regretz and some as unfamiliar (to It was a great pleasure to hear them. (alas, all for military band or full orchestra) were consulted for a Passing Notes to become one of the best-known uni- sense of the flow and tempo. Cecil D. Adkins versity early music groups. He took the (1921-2015) died Tempo was a concern, as recorded UNT collegium to early music festivals November 4 at his home in Denton, versions varied considerably. Davis’s in Boston, MA, and Berkeley, CA, as TX. The organist became significant score recommends =120; performance well as on tours in South America; q to the early music community after he lengths of the YouTube versions ranged these concert tours continued under his joined the musicology faculty at North from 10:18 to 11:36 minutes. successors, Lyle Nordstrom­ (retired in Texas State University (later the The eclectic workshop group came 2010) and current director Paul Leen­ University of North Texas, UNT). from Long Island, Manhattan, New houts. Among other awards, Adkins During his years leading up to being Jersey and three locations north of New earned the Riedo Memorial Award for named Regents Professor Emeritus York City. Few had played together outstanding contributions to early and his retirement in 2000, he estab- regularly; everyone met at least one music in the Dallas-Fort Worth area. lished a collegium musicum that grew other player they hadn’t known before. At the workshop, Beets led the first two sections of the Suite; after a break, Van Goethem took up with the third section. The initial tempo was slower than practiced, but soon reached at least 112. Both leaders offered spe- cific suggestions on blowing for certain passages to produce effective sound, as well as tips on dynamics and phrasing. Beets explained that breathing in requires nothing more than lowering the (relaxed!) lower jaw. The lips pref- 6 Summer 2016 American Recorder Joris Van Goethem leads the recorder orches­tra during the workshop; (below) Tom Beets discusses breath and blowing. More photos taken by Van Goethem and Beets are at: www.flanders- recorder-quartet.be/ AirForceUSA.zip.

erably don’t move, but stay in position, rounded and slightly The music was so completely different from the Folk Song outwards. Both Van Goethem and Beets encouraged the Suite that it came as a refreshing change. basses to produce a “crispy” and clear articulation by using a Beets and Van Goethem also briefly explained the evo- soft sputato to support the piece, making a clear and transpar- lution of the recorder orchestra and its development in the ent bass section. UK, from one in 1973 to four in 1997 and over 20 today. Beets and Van Goethem call their teaching strategy The day ended by returning to the Folk Song Suite, “Air-Force,” in part because of the attention to blowing that brushing up each of its sections, then playing the entire they emphasize, and that recorder playing requires generally. piece through, with Van Goethem recording our effort for After lunch, all changed instruments to sightread Ajo posterity. At the end, most felt both drained and exhilarated. Oloyin, African Suite No. 6 for eight recorders (SSAATTBB) We played well together, and everyone left feeling satisfied by Sören Sieg, who is something of a Swedish polymath with our day’s efforts. Davis's arrangement of the Suite gave (https://de.wikipedia.org/wiki/Sören_Sieg). It had three dif- all parts interesting music, and having the music in advance, ferent interesting, but unusual, ostinatos repeated in every with parts assigned, enabled focused practice. part, so Van Goethem coached us in each of those before The coaching was concise, the acoustics in the sanctuary starting: very good, and people listened to each other and played in He recommended that we tune. Van Goethem and Beets were gracious about our play certain passages with playing, saying that it was comparable to groups they coach our recorders held at an in Belgium, England, Scotland and The Netherlands— angle to the side, so that we excepting only German groups, which they said attract would blow into the wind- significant numbers of professional players. way at that angle, to pro- Participants were Denise LeDuc, Reita Powell, Erica duce an airier, softer sound Babad, Christiane Landowne, Rachel Burdeau, Carol like the shakuhachi flute. Scafati, Kaat Higham, Anne Hoffman, Mike O’Connor, Lucy Weinstein and Karen Wexler. Each of the Frick’s concerts is broadcast online at www.wqxr. org/#!/programs/frick. The 2015-16 season schedule should be posted there and at www.frick.org/programs/concerts/past/ wqxr around July 4. www.AmericanRecorder.org Summer 2016 7 Johannes Cornago, a contemporary of Johannes Ockeghem Cantores y ministriles: (1410/25–1497) who had been educated in Paris. Cornago Music in Seville in the Golden Age worked for a good part of his life for Ferdinand of Aragon. On April 2 in The first half concluded with a set based on the song Cambridge, MA, Nunca fue pena mayor (Never was there greater sorrow) by Blue Heron, an Juan de Urrede. This song opens the Cancionero de Palacio, acclaimed a capella and was used by Francisco de Peñalosa as the basis for a mass choir specializing for four voices. They performed the Kyrie (countertenor in Medieval and Near on the top line) and Gloria (soprano Rood taking the Renaissance music, top line) from the mass, separated by an instrumental four- and the Dark voice piece for cornetto and sackbuts. The song was per- Horse Consort, formed solo by Rood accompanied on the bray harp by a mostly-brass director Metcalfe. It's a song about a tormented lover who ensemble focusing prefers death to the pain his mistress puts him through. on Renais­sance Both the mass movements seemed to portray the calm and Baroque music, of the last verse of the song, where the lover has accepted combined to present death, rather than the pain of the first verse. a concert of music The set concluded with a four-voice version of the song, written in Seville from the Odheca­ton, gloriously performed on cornetto, two during the late-15th tenor sackbuts and tenor dulcian. and 16th centuries. The second half was mostly better-known composers Performers for Blue like Cristóbal de Morales, Francisco Guerrero and Alonso Heron were Scott Lobo. Some of the vocal pieces used the bass dulcian with Metcalfe, director the singers, to produce a more grounded feel. In contrast, and harp; Margot the instrumental selections with five or six parts used the Rood, soprano; tenor dulcian on an inner part. Martin Near, One of my favorite pieces in this section was the countertenor; Beata dei genitrix Maria, a song praising Mary sung by Michael Barrett, Jason McStoots and Mark Sprinkle, soprano with cornetto and tenor dulcian. tenors; and Paul Guttry, bass-baritone. The players in Dark The concluding set was a hymn on the sixth tone in six Horse Consort were Kiri Tollaksen (photo above, back left), voices by Sebastián de Vivanco (c. 1551-1622). Mag­nificat Alexandra Opsahl (front), cornetto; Priscilla Herreid, sexti toni sex vocibus was sung with chant verses alternating shawm and dulcian (not shown in photo); Eric Schmalz, with the six-part polyphony, and with interpolated instru- Mack Ramsey and Greg Ingles (middle, l to r), sackbut. mental movements by Philippe Rogier (1561-96). Dark Horse often offers concerts with other groups, There are an odd number of verses in the Magnificat as as readers may remember from the Fall 2015 AR coverage, divided up by Vivanco, so the concert ended with the voices with its report of Dark Horse collaborating with string chanting "Sicut erat in principio, et nunc, et semper, et in players of the Boston (MA) Early Music Festival. secula seculorum. Amen." (as it was in the beginning, is now The concert started with a set from the Cancionero de and ever shall be, world without end). The audience sat in Palacio (palace songbook), compiled after 1500. This had the silence as the sound faded from the large church—and then instrumentation you might expect on a concert like this: the gave the performers an extended standing ovation. first piece, Tristeza, quien a mi vos dio, an anonymous four- Blue Heron and Dark Horse Consort are to be com- part song by a rejected lover, was first played (cornetto, three mended for this ground-breaking performance exploring sel- trombones and harp) and then sung by the singers. dom-performed repertoire in unusual combinations of voices The set's last song, Pase el agoa (Come across the water), and instruments. The church was crowded, although not was one that recorder players may have played. It is a short quite sold out, and the audience seemed attentive and enthu- four-part anonymous song in which a lover entreats his lady siastic. I heard one person saying that she'd rather have heard to come to him; he picks three roses for her. It was sung, then just the singers, but I personally feel that having the instru- played by four brass players, and then repeated with all eight. ments as well added both interest and depth of feeling. The second set was closer to what Blue Heron does in Laura Conrad, Cambridge, MA concert, with three voices singing Qu'es mi vida preguntays by

8 Summer 2016 American Recorder The Recorder Windway Demystif ied he windway of a recorder is the Windway Size: channel between where a player Width, Height and Length blowsT into a recorder and where the air The roof and sides of the windway are enters the bore. Most of the artistry of formed by broaching (carving) a chan- recorder making occurs in this small nel into the headpiece of a recorder. space. Designing a windway is like The block (a cedar plug) is inserted playing on a seesaw; changing any into this channel to form the floor of dimension will cause a corresponding the windway. The size and shape of the change in tone or response. Crafting a channel formed by these surfaces is windway is an art because it requires what makes musical magic. balancing one factor against another to The width and height of a wind- By Thomas M. Prescott achieve an instrument that plays beau- way are critical in determining how tifully throughout its entire range. much air a player can get into the During a summer spent working at This article details the techniques recorder for sound production. With a Interlochen Music Camp after his I use to create an ideal windway, which large windway the tone can become freshman year in college, Tom Prescott are based on what I’ve learned during uninteresting. With a small windway discovered his love for the recorder. 40 years of recorder making. the sound can be weak or, at higher A performance of the Sammartini breath-pressures, edgy or sibilant. Concerto in F for soprano recorder and orchestra was a transformative moment. From that point on, Prescott Figure A: A cut-away view of a recorder head studied every aspect of early music. showing the windway channel After college, Prescott apprenticed at the Von Huene Workshop, which led to the formation of his own workshop two years later in 1975.

At the beginning, Prescott Workshop offered Baroque and early Baroque recorders, mostly based on original instruments. The introduction in 1991 of modern pitch Renaissance recorders, with guidance from Bob Marvin, has been key to his understanding of instrument design and has strengthened his craftsmanship for all his recorders. Prescott Workshop currently offers 18 different recorder models.

This article first appeared in the Dutch-Belgian magazine, blokfluitist, in February 2013.

Figure B: The windway width, tapering from the blowing end (#1) to the exit (#2)

www.AmericanRecorder.org Summer 2016 9 Figure D: The chamfers: (#1) at the blowing end; (#2 & #3) upper and lower exit chamfers

Figure C: (#1) The length; over the wind column (#2) the height; (#3) the because there is not much blockline of the recorder resistance. On the other hand, Windway widths are sized in rela- if the blowing end is not tion to the diameter of the interior of larger than the exit, there the recorder head. Studies of historical will be more resistance and recorders show that an ideal windway the player will feel like he produce a change in tone or response width at the blockline (the end of the has more control of the instrument, but without getting too many undesirable block away from the blowing end) it will produce a less resonant sound. side effects. should be about ½ the largest head- The calculation I use for deter- Windway Length: In contrast to bore diameter plus 2.5 mm. This mining windway height in millimeters windway height and width, the length means that a typical Baroque alto is the sounding length divided by 2000 of a windway is relatively unimportant. recorder with a maximum head bore plus 0.83. Thus an alto recorder with Assuming the airflow is unobstructed diameter of 19 mm would have a a sounding length of 415 mm would and smooth, a windway can be as short windway width of 12 mm. To give have a windway height of 1.04 mm. as half the normal windway length a better sound and resonance to the While I consider the results of this (about 60 mm on an alto) with no ill instrument, the entry is larger than the formula to be ideal, the dimensions effects. exit. This taper makes the instrument can be varied by as much as ±5% to more pleasurable to play, although I cannot say why. The windway height (Figure C, #2) is based on the sounding length of the recorder, which is the distance from the blockline (Figure C, #3) to the bot- tom of the foot. Unlike the width and length of the windway, this windway height dimension is derived from my own experience. Windway height changes more than any other dimension on museum originals, so historical instruments do not provide reliable examples for cur- rent use. The windway height tapers from the blowing end to the exit. Like everything else about the windway, the amount of taper is a matter of balance. If the blowing end is more open, it allows the player to put more air through the windway with less resis- tance, resulting in a louder instrument. However, with a more open blowing end, the player can feel a lack of control

10 Summer 2016 American Recorder The obvious advantage of being enough, it will play the next harmonic, The size and shape of the able to shorten a windway is to make which is one octave higher. Blowing it easier to play longer instruments by progressively harder will produce inter- reducing the distance between the beak vals of a fifth, fourth, third, minor third, chamfers is perhaps the and the toneholes. Because this dimen- and second in succession. A familiar sion is unimportant, a bass recorder example of an instrument that gets its most important aspect of usually has the same windway length notes by jumping from one harmonic as an alto, making it easier to reach the to another is the bugle. The Reveille a recorder’s windway. toneholes. arpeggio starts as follows (Figure E):

The Chamfers Chamfers are small angles cut into the block and roof of the windway at the blowing and exit ends (Figure D). Without chamfers, a recorder will The key chamfer aspects are the Chamfers balance the top and bottom play like a bugle, jumping from one angle of the chamfer, the absolute notes on the instrument and have a harmonic to another, because the air- size of the chamfer, and the sharp- great deal to do with tone quality stream is unstable as it exits the wind- ness of the edges on the chamfer. and response. The size and shape way. However, the sound without The anchor of my voicing is the bot- of the chamfers is perhaps the most chamfers is edgy and it is very difficult tom chamfer, which I always set at a important aspect of a recorder’s to lock onto a note. A player’s breath 45° angle. The size of that chamfer is windway. pressure has to be exact to control pitch the next most important part of its The chamfers at the blowing and produce the desired notes. design, and I use a distance of 0.7 mm end serve the purpose of smoothing For example, if you are playing a measured along the slant of the cham- the airflow as it enters the windway, d"' on an alto and go for the c#"', the fer on more than half of my instru- thus eliminating a possible source of recorder might overshoot the mark and ments. I prefer a chamfer with sharp unwanted noise. However, the cham- play a higher overblown note, meaning edges, in part because I find that pro- fers at the windway exit are the work- you will hear a squeak instead of the vides a standard that I can reproduce horses of a recorder. They control note intended note. precisely on each instrument. stability, tone and responsiveness. This Chamfers help recorders resist The angle I use for an upper section focuses on their effect on a jumping to different harmonics when chamfer ideally is also 45°, but that recorder. breath pressure is increased. The notes works best on a recorder that has no Before going further, a discussion are therefore more stable, which allows burbles (warbling, unstable notes) of harmonics is in order. If one blows a greater dynamic range because the on the bottom. If the bottom end needs the bottom note of a recorder hard instrument can be blown harder on any more stability, I use a flatter angle of note without jumping to its harmonic 25° (about the angle of the ramp, neighbor. The bigger the chamfers, the discussed later in this article; see Figure I) more stable the instrument and the less to 35°, which favors the low notes. •Performance likely it is to play a different note. If a recorder is exceptionally stable on •Instruction However, if the chamfers are too the bottom end I’ll steepen the upper big, the instrument is too stable and chamfer somewhat to improve the •Private Studio in Chicago Area resists playing certain overtones. With flexibility of the high notes. larger chamfers, playing notes above In addition, it is also possible to SAVE THE DATE: the first octave will require determined combine two or three distinct angles Celebrate 10 Years! tonguing and considerable breath pres- in a chamfer, adding an angle at the Annual Recorder Workshop, 9/10/16 sure to force the instrument to play top third or half of the upper chamfer Bloomington, IL higher than the second octave c'". In to help the high notes speak clearly addition, the higher notes won’t slur (Figure F). [email protected] without a concerted effort. Therefore, A flatter angle on just the bottom www.LEnsemblePortique.com choosing chamfer dimensions and third of the upper chamfer can serve to 309.828.1724 shape is an exercise in balance between remove burbles while keeping the top stability and responsiveness. end free and responsive. Rounding any

www.AmericanRecorder.org Summer 2016 11 of the transitions from wind- towards the blockline (Figure G). If one way to chamfer or from one lays the edge of a ruler along the block chamfer angle to another will or roof surface, the ruler will touch sometimes smooth out minor either end but not touch in the middle. burbles or noises, but can This compensates for the fact that result in a loss of responsive- when a recorder has been played a long ness at the top end or a less time the block will swell up quite a bit colorful sound. in the middle, thereby squeezing the airflow. Windway Curvature A windway where there is no The ideal windway is not a curve—i.e., both surfaces are flat, or simple slot, but curves both one where the surfaces are convex, along its length and across its thereby reducing air flow in the middle width. This curvature allows of the windway—does not play reliably. the instrument to continue This poor performance worsens as the to play well as the block wood swells during playing sessions. Figure F: An upper chamfer swells during play. It also Both the existence of a lengthwise cur- with two distinct angles, produces a more resonant and colorful vature and its dimension are significant. one at 15° and one at 45° tone and strengthens certain notes. I use arcs with radii of 2 to 5 meters. Lengthwise curvature: Both the Greater curvature produces an edgy or roof and the block are slightly concave scratchy tone and perhaps will cause a along the length of the windway, swell- burble on the bottom notes. A flatter, ing the space between the two surfaces larger radius results in a less resonant as the middle of the windway length is tone, but a more stable bottom end. reached, then tapering back down

A windway where there is no curve—i.e., both surfaces are flat, or one where the surfaces are convex, thereby reducing air flow in the middle of the windway— does not play reliably.

12 Summer 2016 American Recorder 1

2

Figure G: Exaggerated view of the lengthwise curvature of a windway

Cross-sectional windway curvature: Less expensive recorders have windways that are flat in cross-section. This Figure H: Viewing the cross-sectional may have become the norm because it was easy for a crafts- windway curvature from the blowing end person to quickly adjust the block with a flat plane. Flat showing (#1) the roof and (#2) the top windways, however, often become low in the middle over of the block time, making moisture go straight down the center of the windway, thereby clogging the recorder or creating a scratchy tone. Better-made recorders have curved windways, forming This curvature, like the lengthwise curvature, adds color an arc where the top of the windway is higher in the middle to the tone and is a better shape for draining away windway than at the sides (Figure H). moisture by creating a moisture “gutter” at the sides. The

www.AmericanRecorder.org Summer 2016 13 Figure I: (#1) the window; (#2) the lip; (#3) the ramp

top of the block, the higher notes will become edgy and hard to produce. If the bottom of the lip is more than 0.1 mm above the block surface, the tone becomes purer and less interesting, but with better and easier high notes. Lip thicknesses can vary from a sharp edge to the height of the wind- way opening (Figure J). A thin lip will produce more over- curve can be slight, or as large as the Windway Angle tones resulting in a richer tone—but curvature of the bore radius. More cur- The angle at which the windway aims the instrument will be less stable, so it vature seems to equal better bottom the airstream at the lip is important will be harder to lock onto the higher notes. My Renaissance­ instruments use because it determines whether high or notes. Within reason, a thicker lip will a curve that is two times the radius of low notes will have the best response. produce a rounder, though possibly less the bore. On my Baroque instruments, This corresponds to the way a flute interesting, tone. With a thicker lip, the the curvature is flatter, three or four player directs the airstream over the high notes take more effort to produce times the bore radius. Greater curvature embouchure hole. If directed upwards, but are more stable. gives the Renaissance instruments the the high notes respond better. When If a recorder model has a sibilant desired stronger low notes, while flatter aimed into the embouchure hole the tone, a thicker lip will smooth out curvature on Baroque instruments bottom notes are accentuated. the sound. I like a thickness of 0.25- favors the upper octaves. Likewise if the windway angle 0.3 mm for Baroque altos and a little sends the air upward, over the lip, the more than ½ of the windway height high notes are better. Sending it down- for Renaissance instruments. wards, more into the bore, strengthens Like the windway, the lip has the bottom end. Baroque recorders a cross-sectional curvature, which have an upward angle and Renaissance matches the windway curvature. The recorders use a downward angle. immediate advantage of this curvature The exit end of the windway is that it prevents the rather thin lip is always fixed in relation to the lip; from sagging over time. A lip that sags therefore changing the angle of the in the middle can’t be voiced properly windway is accomplished by raising because it is difficult to match the roof or lowering the windway entrance and block to its shape. If a curved (the blowing end). windway distorts, it will always be in a more curved direction. The Lip The air column formed by blowing into the windway exits into the window where it strikes the lip (Figure I, #2). The height of the lip in relation to the top of the block is significant because it can make notes easier to produce and affect the tone of a recorder. The bottom of the lip is normally about 0.1 mm, the thickness of a sheet of paper, above the surface of the block. Figure J: Two lips with If the bottom of the lip is level with the different edge thicknesses

14 Summer 2016 American Recorder The height of the lip in relation to the top of the block is significant because it can make notes easier to produce and affect the tone of a recorder. Figure K: (#1) the window; (#2) the cut-up; (#3) the lip; The Cut-up (#4) the ramp The cut-up, in conjunction with the windway width, forms the window (Figure K). Air coming down the wind- way strikes the lip and sets up the vibrations that produce the tone. The cut-up dimension is impor- tant because a larger cut-up for a given recorder length will result in better high notes and more stability. The opposite is also true: a small cut-up will give better low notes. The size of the cut-up differs Figure L: A steep sided ramp and a flared ramp, between Baroque and Renaissance viewed from the blowing end instruments, in part because of the greater range of Baroque compared recorder’s pitch (Figure L). If you have and a big cut-up, it would produce to Renaissance recorders. Too large a ever examined organ pipes you may the middle notes but not much else. cut-up results in the top notes being have noted that on metal pipes there is Reversing these dimensions, the instru- difficult to produce. a “beard” around the ramp to make the ment would be unstable and would not pipe act as if it has a thicker wall, settle on any note, jumping instead The Ramp thereby strengthening the lower tones. through the harmonic spectrum. In In order to create the lip, it is necessary voicing a recorder, a maker is striving to cut into the wood on the front of Concluding Thoughts for a happy medium of all the contrib- the recorder, thereby forming the ramp If I made an instrument with a large uting factors to produce the best sound (Figure I, #3, and Figure K, #4). The windway entrance and exit; a lot of and response over the entire range of a ramp contributes to the overall sound taper; large, rounded chamfers; a thick given instrument. The art of recorder of the instrument by affecting pitch lip that is high in relation to the block; making is in achieving this balance. and the tuning of the octaves. A steeper sided ramp that does not flare much accentuates the low notes and lowers the pitch of the instrument. This effect is accentuated by the thickness of the wall between the interior and exterior of the head. Flaring the sides of the ramp (both from the lip to the surface of the head as well as from the blockline towards the bottom of the ramp) will strengthen the high notes but raise the

www.AmericanRecorder.org Summer 2016 15 Book Reviews ______A recorder maker, a recorder scholar, and another tale of ______the woman who may have written Shakespeare Well- recorders through modern innovations Have you shopped for Tempered with extended range and volume, and Woodwinds: every historical variety in between. a recorder recently? ... Friedrich Regardless of how much you pay, For many things that von Huene your new instrument is very likely to and the play in tune and at the advertised pitch. we now take for granted Making of For this—and for many things that Early Music we now take for granted about the about the recorder world in the New recorder world and the early music and the early music scene in World, scene in general—we can all thank by Geoffrey Burgess. Friedrich von Huene. general—we can all thank Indiana University Press, 2015. Written with the active partici­ Friedrich von Huene. ISBN 978-0253016416. Hardback pation of its subject and his family, or eBook. 320 pp. $25 (eBook)— Well-Tempered Woodwinds recounts Powell factory in Boston (MA) to set $45 (hardback). von Huene’s remarkable life-story, up his own shop making recorders. Have you shopped for a recorder starting with his happy childhood on The details of family life and the recently? There are so many good a small farm in eastern Germany, the pressures of running a small business choices available, from injection- trauma and chaos of World War II, and are woven gracefully through the cen- molded plastics with curved windways his 1948 arrival in America. We learn tral narrative of how this extraordi- and sophisticated bore shapes through of a childhood fascination with record- narily talented and visionary man reliable factory-made wooden instru- ers, guns, cannons, tools and music, transformed our instrument and ments, and on up to handmade beau- which led logically to his 1959 decision influenced the musical world. ties; from cylindrical Medieval-style to leave a job building flutes at the A central thread in the narrative concerns von Huene’s development of Friedrich von Huene (1929-2016) his first recorder model, which made a As this issue went to press, sad news arrived that Friedrich von Huene huge splash when it hit the market in had died. More details will be available in the Fall American Recorder. 1960. Based on the best recorders avail- able in the mid-20th century, it was designed for the needs of performers at that time, who often played alongside modern instruments with their louder volume and equal temperament. Because von Huene’s recorder did this job so very well, the late iconic recorder virtuoso Frans Brüggen was an early adopter. In the ensuing years, as Brüggen became increasingly interested in his- torical recorders, he encouraged von Huene to design instruments based on 18th-century originals. The direc- tion of this evolution explains many things about recorders manufactured

16 Summer 2016 American Recorder today, including the standardized “Baroque” fingering system and ubiquitous Not quite autobiography, double holes. Friedrich von Huene, and his wife and business partner Ingeborg, had nor treatise, and also not dreams that extended well beyond making great recorders and flutes in their shop, and they brought an astonishing number of those dreams into reality. quite an essay on healing, Boston is a center for early music performance and instrument manufacture, with the Boston Early Music Festival that they founded as its flagship event. nor memoir, his writings Well-designed recorders bearing many of von Huene’s signature design charac- here aren't to be boxed in. teristics are available worldwide at every price point, thanks to a manufacturing partnership with Moeck and to von Huene’s groundbreaking work on the first philosophy, good taste, climate, and high-quality injection-molded plastic recorders for Zen-On. satire of society. Recorder makers around the world now build instruments to meet specific I Am Alive Now begins with an tuning standards, as von Huene urged in his vigorous 1970s campaign for stan- outline of Lasocki’s life: his birth in dard pitch. And more than half a century after the introduction of the first von London and childhood in Manchester, Huene recorder, his instruments are still heard on concert stages and recordings England; his primary schooling, the around the globe. beginning of his passion for music and Author Geoffrey Burgess tells von Huene’s story with a deft hand, balancing his predisposition for research in his the personal and the professional to create an engaging and coherent narrative. teens; his early development as a music Recorder players and enthusiasts will find this book fascinating and eye-opening. editor, researcher, recorder player and I highly recommend it. flautist; and transition from the study Gwyn Roberts co-directs and performs with Philadelphia (PA) Baroque orchestra of chemistry to musicology and Tempesta di Mare, which has released its ninth CD on Chandos. She is professor of library sciences. We meet his family recorder/Baroque flute at Peabody Conservat­ory, Director of Early Music at the in London, and follow them as they Univer­sity of Pennsylvania, and she directs the Amherst Early Music Festival move to Iowa, where he pursues gradu- Virtuoso Recorder and Recorder Seminar programs. ate degrees in musicology and library science, inspired by Betty Bang I Am Alive Now: Writings from a Lifetime Mather, the scholar of Baroque flute of Healing, by David Lasocki. Instant Harmony and its performance practice. He now (Portland, OR; http://instantharmony.net/Music/eb11.php), lives in Portland, OR, with his family. 2012. ISBN 978-0983404828. E-book or printed, with ship- An interesting part of this writing ping to U.S. addresses. 152 pp. $12 or $24. is meeting early music notables along David Lasocki is a well-known and highly regarded the way: as well as Betty Bang Mather, scholar, and a leading researcher of historical woodwinds. we meet author and Baroque oboist He has written 11 books, over a hundred articles and edited Bruce Haynes (1942-2011) and his about a hundred editions of 18th-century woodwind music. wife and long-time musical partner Lasocki retired several years ago from his position as head reference librarian at the Cook Music Library of the Indiana University (IU) School of Music to pursue researching, writing and healing. His spiritual journey, however, is the focus of this narrative title. I wasn’t aware of this side of his life, even though he became the director of my doctoral document on vibrato in the French Baroque at IU’s Early Music Institute after Thomas Binkley died. Honeysuckle Music Not quite autobiography, nor treatise, and also not quite an essay on healing, nor memoir, his writings here aren’t to be boxed in or categorized. He presents us Recorders & accessories with an often fascinating read of his life events, friends and travels; he shares his ... feelings, stories and a spiritual journey. In reading I Am Alive Now, I am interest- Music for recorders & viols ingly reminded of 16th- to 18th-century writings, like those of Montaigne (1533- 92) and Montesquieu (1689-1755). Michel de Montaigne combines autobiogra- Jean Allison Olson phy and anecdote with intellectual enquiry: for example, a long essay variously 1604 Portland Ave. St. Paul, MN 55104 covers philosophy, religious inquiry and the personality of cats. Montesquieu’s let- 651.644.8545 ters, memoirs and discourses might include his thoughts on a wide variety of top- [email protected] ics, from the physical properties of matter to political thought and natural

www.AmericanRecorder.org Summer 2016 17 formal education in the literary arts and her presumed knowledge of the recorder, which is represented in sev- eral of Shakespeare’s plays as an instru- ment that is not easy to master. The Dark Lady’s Mask depicts Aemilia as lover, collaborator and muse of Shakespeare. In the book, Aemilia, who decries the limitations placed on women in her time, dresses as a man and assumes the persona of Emilio, in part to make money as a musician. While Aemilia might have learned recorder—growing up in a family of recorder players and mar- ried to a member of a royal recorder ensemble—it was not an instrument Susie Napper; Frans Brüggen (1934- regular conductor and faculty member at she would have played in public. Given 2014), Walter Bergmann (1902-88) recorder workshops across North America, that the recorder and other flutes have and others. We also meet many close she retired several years ago from directing had a long historical association with friends. the San Francisco Early Music Society's sexuality and desire, they were instru- I Am Alive Now isn’t a teleological Recorder Workshop after a successful term ments that were generally off limits presentation of events, but it does pic- of nearly 20 years. Feldon studied recorder to women. Thus the novel portrays ture for us a series of life snapshots. and Baroque flute at Indiana University, Aemilia as a singer and player of the The first third of the memoir is some- where she completed a doctorate in virginals and lute, musically permitted what of an autobiography, and the next collegium directing. activities of that time. two-thirds are really an amalgam of Sharratt is a superb storyteller. remembrances, essays, and extracts of The Dark The Dark Lady’s Mask is beautifully research and writings—e.g., on the jazz Lady’s Mask, written and meticulously researched. group Astral Project; three short stories by Mary It offers us a window into both the for his teenaged son Lucien; a story Sharratt. worlds of court musicians and of about Van Eyck scholar Thiemo Houghton Mifflin women in Shakespeare’s era. The Wind’s dissertation defense. A good Harcourt (Boston, characters and the musical realm portion of the narrative includes snap- New York), 2016. come alive. shots of the various healing and spiri- ISBN 978- In Aemilia's case, her particular tual studies that Lasocki undertakes to 0544300767. life circumstances—in which she was pursue his calling as a healer and writer. Various eBook versions and hardback. first a mistress to a nobleman, then If you enjoy a spiritual journey, 416 pp. $13-$30. forced to marry, and altogether unable the history of woodwinds, research Readers who enjoyed the article to fully pursue a literary career— on the recorder, and insight into per- on the Bassano family of recorder play- demonstrate the stark realities of the sonalities in the early music world, you ers and makers by David Lasocki lives of historical women. This is will enjoy reading I Am Alive Now. If (“The Bassano Family, the Recorder, Sharratt’s area of expertise; The Dark you want to know more about his heal- and the Writer Known as Shake­ Lady’s Mask is the latest addition to her ing practice and for a bibliography of speare,” Winter 2015 American historical repertoire, in which she gives his research publications, go to Recorder) might also be interested in voice to women who were unable to www.instantharmony.net. Mary Sharratt’s latest book, The Dark be fully heard in their own time. Frances Feldon is a freelance Lady’s Mask. The novel features Beverly Lomer is an Adjunct musician and music teacher in the San Aemilia Bassano Lanier. Professor of Humanities at the Harriet Francisco (CA) Bay Area. She teaches John Hudson’s research, published L. Wilkes Honors College of Florida recorder and Baroque flute privately in in his book Shakespeare’s Dark Lady, Atlantic University, where she teaches her Berkeley studio and teaches the recorder argues that Aemilia was the real author courses in music and culture. She is also a program at Albany Adult School. A of Shakespeare’s works. Hudson’s the- recorder player whose primary interest is ory is derived in part from Aemilia’s in performance from original notation. 18 Summer 2016 American Recorder ______On the Cutting Edge ______Gustavo de Francisco talks with Karel van Steenhoven about his past and about the future of the recorder

By Gustavo de Francisco, KVS: At this point, I’m mainly known São Paulo, Brazil for my work with the Amsterdam Loeki Stardust Quartet, with which I On my last trip to Germany in 2015, have played for about 30 years, doing I had the pleasure of meeting a virtuoso concerts all over the world. We’ve made recorder player—a founding member about 20 recordings and have won lots of the Amsterdam Loeki Stardust Quartet of prizes. I am mainly known as a (ALSQ), a group of Dutch recorder play- recorder player. ers with 30 years of history. Karel van For 17 years now, I have been a Steenhoven met me for an interview, professor of recorder and contemporary talking about some of his professional music at the University of Karlsruhe experience, his recent work developing in Germany. After my studies the improvements to Modern recorders, and Amster­dam Conservatory of Music, also some curiosities behind the scenes of I also studied composition with Tristan ALSQ. The first part of this interview is Keuris, a famous Dutch composer who below, with text about ALSQ posted in died recently. My main interest in English on the ARS web site. You may music has always been my own music. also listen to the entire interview, in When I first started to play English, on the ARS web site and hear a recorder, I was four years old—but, in Helder tenor played in videos at www. fact, I started on a green plastic clarinet! youtube.com/americanrecordermag. I loved this instrument, it had all- colored keys. I played my own tunes, instruments in the house.” [He went to GDF: Thank you very much for this and also tunes that I could sing. This get something from a shelf.] And she gave conversation. First, I would like you to plastic clarinet cracked; it fell to the me this, my first recorder. It has a great tell a little about yourself and your career, floor. I was a kid, I had just lost my history. Here you can see teeth marks so our readers know a little more about clarinet! I was crying, and my mother of my first dog, who also tried to play what you do and about your background. said, “Well, I must have some other recorder, but he did not go much fur- ther than biting the instrument. But the instrument survived and still plays [He played some notes ...] After my plastic clarinet broke, I started playing on this. Of course, I wanted to play all the tunes now on the recorder, but that did not work, because I could not play the low C. I just could not get it to work. I cried a lot, “Why isn’t it working?” I practiced a lot, until I could play low C. I was happy again. Since that time, I have played the recorder. Many people tried to get me to play other instruments. My father, seeing me playing for many years on my little recorder, said: “You play so much on that instrument. Why don’t www.AmericanRecorder.org Summer 2016 19 you play transverse flute?” I really wanted the recorder. I got a It is better to have a good musician to tell teacher, who in fact was a guitar and mandolin teacher—but he said, “Well, I can also teach recorder, if you like.” you what to do and to find out yourself how to do it on your instrument, than to Many people say that. We wrote an article on the Quinta have a not-so-good recorder teacher. Essentia blog [http://quintaessentia.com.br/en/flautadocebr, with some postings in English, others in Portuguese], where you need a different intonation or depending on instruments among other things, we say that teachers should avoid teaching that are playing together, like with the piano. It’s not only about something when they are not trained.… It happens. fingerings. Especially at that time, there were not many good recorder Exactly, it’s about style, expectations of sound development, teachers. It was in the 1960s, and there were just not many how to use silence in music, how to make phrases. Violinists recorder players. Frans Brüggen was starting to build a also talk about breathing in music—so music is a sort of a school. He had pupils, but his students had not yet come to general language.... You can translate these ideas for each the music schools. There were not many really good players. instrument. The most important one for the recorder is what we learn through the treatise of Silvestro Ganassi Many people in Brazil ask: What can I do, because there are [1492-1550]. He said that, if you really want to play the no recorder teachers in my city? It’s the same situation. recorder, learn to sing. If you can sing well, you will be I was lucky—I would give them the advice to do as my life able to play recorder well; try to imitate singers. turned out. Find a good teacher who is an excellent musician, This is always a very important part of music-making: and this person can teach you the basics of music-making. try to imitate others. If you can imitate a good violinist, or a The recorder-playing, you have to learn yourself. good ’cellist, using the recorder, it is much better than trying This is how it was with me. This teacher, who was a gui- to imitate a recorder player who does not play well. Perhaps tarist and mandolin player, was also a composer and a good this recorder player has better technique, but has no style or musician. He taught me musicianship: to do this, try that, his musical aesthetics are not good. It’s better to look for a make your own tunes. He encouraged me to play my own good violin player and try to play in that style, to work on music, and taught me the first steps in composition training. development of overall sound and musical language. He taught me to be a musician. My teacher after that, in the music school, was a violin- This is excellent advice! ist. He also could not play the recorder, but was a very good violin player. He taught me everything he knew about music, On the Development of Modern Recorders but I had to translate it to the recorder. I would like to know more about the development and improve- The main thing with that teacher was that he had a ment of a new family of recorders, including some very special recorder, and he could play one note. When I was making ones that I see here in your studio. I would like you to describe the wrong sounds, he took his recorder and said, “Listen, your latest work with Mollenhauer. Karel, this is how it has to sound.” Then he blew into the Interestingly enough, this has to do with what I talked about, recorder, and it was such a lovely tone. I was amazed by that the imitation of other instruments. One of the things I tone. I said, “This is how I want to play.” But that was the always missed very much—as a child, also as a student and only thing he could play on the recorder, so the rest he played now as a professional recorder player—is the direct connec- on the violin. He taught me everything to make it possible tion to my fellow wind instrument players. The recorder is an for me to go to the music university ... so I could enter the instrument that, in all periods of music, was built by the best Amsterdam Conservatory. instrument makers. If you look in the Renaissance time, you He could play only one note on the recorder, but he was see that great instrument makers of flutes, cornettos and a good musician. This, I think, is good advice for people who other instruments also made recorders. The recorder was one don’t have good recorder teachers: it is better to have a good of the most sophisticated instruments of its time. In the musician to tell you what to do and to find out yourself how Baroque period, the makers of recorders, flutes and oboes to do it on your instrument, than to have a not-so-good recorder teacher. Musicianship is more important.

I usually tell people, who may only be interested in fingerings and nothing else, that learning fingerings is the easiest part. There are many things to learn beyond fingerings. Even those can change if Oboes: Baroque (top) and modern (bottom) 20 Summer 2016 American Recorder were mostly the same people. They tude of features that it provides. We use it Quinta Essentia packing made these three instruments, so the in Quinta Essentia. The sound of the Paetzolds recorder was built at the same level Helder recorder mixes very well with the as the oboe. sound of other recorders, such as the If you compare the oboes in the square Paetzold recorders. early Romantic period, the same mak- Even more important than fitting ers also built flageolets and recorders with other Modern recorders, the of that time. But now, since the early sound quality, the tuning system music movement in the last century, and its range matches other modern we have sort of shut off the recorder, wind instruments. as makers began to ignore the develop- It is very logical that, if we use a ment of key making, pitch, and the Baroque instrument, this has another development of sound aesthetics of our aesthetic—sound and tuning, and even time. They simply separated from the the shape and external appearance, all rest in a kind of “early music island,” give us another aesthetic principle. The where they work with old tools, with music of that period is different. If you development. My personal ideal instru- old intonation systems and tuning use a Baroque recorder to play music ment would be a fusion between sound pitch. Of course, this is a great world! composed, for example, after the time quality and the possibilities of the As you see, I own over 110 of [20th-century composer Arnold] Eagle alto, with the key system and the instruments; I love them all—they Schoenberg, that doesn’t fit. If you wear flageolet registers that are possible on have so much color and history. But your Baroque clothes to a dance, they the Helder alto. If these two could be what I miss is a normal instrument will say that what you are wearing is combined, that would be an ideal of our time, so that we can say, “I am not good. All of the aesthetics of each instrument. a musician, I play the recorder, and period belong together. use an instrument that has the same That’s why I want to develop this You told me that you work with Adri construction and technology of a modern instrument. I went to Mollen­ Breukink on new developments in the modern oboe or a modern clarinet.” hauer and said, “Let’s turn this instru- Eagle recorder. Could you tell us about This is still not the case! ment into a standard high-level instru- your contributions with the Eagle? This is something that I want to ment, so it is really worth the money On the development of Eagle, it is change, and this is one of my latest invested.” I started working with them difficult to say how things really work. projects in my musical career. I want to and added my knowledge as player and Adri often visits, and we talk about stimulate this. I want my students to as composer. I can say that the Helder push the instrument to the next level. recorder is worth the Adriana Breukink I started with this great recorder money, and it is a playing the that was made by Maarten Helder in basis for other future Eagle alto the last century. He won an award for development. recorder this model. It was lying around in the This is not what workshop of Mollenhauer­ , but nobody recorder makers like seemed to care; the instrument was to hear, including expensive, it was not yet really good— Adriana Breukink but the model and the idea behind it with the Eagle really attracted me, and the possibilities recorder. I say that at of this model interested me. This is a this time the Eagle tool from which you can build a mod- recorder is a very ern standard instrument, if you put in good instrument, the time. with many possibili- ties, worth the I would like to add something, I discovered money—but it does this instrument in 2010, and had the not yet offer every- opportunity to buy it in 2011. I was thing I like. It is still amazed with this instrument, the multi- the basis for good

www.AmericanRecorder.org Summer 2016 21 music. I comment to her about what I ing the recorder to use “shading” tech- you have, below the low F on alto, the think about the position of the holes, niques [to change the color of each leading tone E-F. This is something about the playing possibilities that a note]. The rhetorical role of the that we miss on Baroque instruments. modern recorder player really needs. recorder in the Baroque period was “the For instance, when you want to play We talk about whether the instru- voice of God,” which isn’t shaded—he the ’cello sonatas by Bach, you have to ment’s keywork is fitting or not and if says clearly how it is. The recorder was transpose the low E-F an octave higher, the keys are working well. She, in turn, played at weddings, funerals, and also or shade the bottom hole on your knee. tries to put all these ideals into her in large events. We see this in the can- But [closing the hole with your instrument. tatas of J.S. Bach, where the only place knee] doesn’t sound good. You can do It is a stimulating process in both the recorders play is related to the silly things when only other recorder ways: she comes to me with possibili- death of someone, or when there is players are listening to you play, but the ties, and I say I need this or I need extreme joy. This goes with a very moment you try to be a musician in that. I say “I,” but I am referring to all “straight” way of playing. your own time, and you try to be recog- recorder players who already play at a We should mention something nized not only by recorder players but certain technical level and who want to about the period when the whole tun- also by oboists, trumpet players… .If play music of our time—that is, music ing system begins to enter a more gray you want other musicians to say, after 1920, Gordon Jacob’s music, or area, where pure fifths are gone. After “That’s very good,” then you will stop Staeps, Stanley Bate’s sonatinas, and all 1810, equal temperament does not use shading the bottom hole of your other music with modern violins, mod- the pure fifth. At that time, if you recorder on your knee. ern oboes, and especially with piano. played a recorder, which plays pure These motivations are very impor- I’ve never heard any Baroque or fifths, everyone would say that the tant to me. At Karlsruhe and at the Renaissance recorder that really blends recorder was out of tune, because no conservatory, the recorder is not part of its sound with a piano. The only instru- one wanted to hear a pure fifth. They the early music department, but rather ments that actually work with piano are wanted to hear a “shaded” fifth. is part of the wind instrument section. the Eagle recorder and Helder alto, for At this time, vibrato begins to be That is also why I have as a personal me. All other [old] instruments simply used. But if you played a straight note challenge to present my instrument to do not match well with the sound qual- on the recorder [sings very straight: my colleagues at the university as ity, intonation system or tone. “This is an A”], nobody wanted to hear “equal.” That’s why I work so hard in In the Baroque period, people that. They wanted to hear [sings with the development of the Modern wanted to play [the recorder] for its vibrato, “this is something like an A”]. recorder. clarity. It was also a rhetorical position Maybe it’s an A, but maybe not. The All instruments play music of all among other instruments: a simple idea of truth and God’s voice is not times, but the others play on instru- recorder, "the voice of God saying, 'this there anymore, because the music is ments of our time. I think this is the is true.'" It was not allowed when play- not based on truth, but on “tempered correct way. If you are an oboist, you Renaissance winds: scales.” shawm, flute, recorder, The whole aesthetic system cornetto, bombard changes. After Schoenberg, we have so many variations and shading tech- niques in all instruments; the sound develops into what we call “color music.” Instead of a melody, you just change the color. A Baroque instru- ment that is unable to change its color simply does not belong to this musical aesthetic standard any more. Changing color, shading tech- niques—these are the main elements of the Helder alto, which has a key that allows you add dynamics to your instrument. A very important element is that you have a larger range—that Modern wind instruments

22 Summer 2016 American Recorder All instruments play music of all times, but Modern recorder does not work, the recorder will simply disappear from the professional concert music scene. the others play on instruments of our time. Karel van Steenhoven studied recorder with Kees Boeke, and composition with Robert Heppener and Tristan Keuris. In 1978 buy a modern oboe; if you are interested in Bach, you play he was a founding member of the Amsterdam Loeki Stardust Bach on your modern instrument; and if you are very inter- Quartet, with Daniël Brüggen, Bertho Driever and Paul Leen­ ested in Bach, you buy a replica of an oboe that was used in houts. In 1995, he was appointed professor of recorder at the Bach’s time, a period oboe. If you are interested in Mozart Hochschule für Musik in Karlsruhe, where he now lives, and vis- and you play the clarinet, you start playing on your normal iting professor at several schools including the Guildhall School clarinet; but if you become very interested, you buy a period (2013). He was a jury member at the 1997 International Moeck clarinet, some form of authentic copy of an old instrument Recorder Competition, the American Recorder Society Composi­ from the time of Mozart. tion Contest in 2006, and the European Recorder Teachers' I think this is the right thing to do, even for those who Association (ERTA) Composit­ ion­ Competition in 2011. He now play recorder in the future. I imagine you must have your serves on an ERTA committee to determine the best fingering Modern recorder, equal to other modern instruments, and system for the new Modern recorder. play this recorder all the music you know, from the current Gustavo de Francisco founded the Quinta Essentia repertoire to the music of the distant past as Guillaume de http://5eofficial.com) Machaut. Of course if you are very interested in Machaut, at Recorder Quartet ( in 2006. Based in some point in your life when you have enough money, you Brazil, the group has toured in Europe (2009, 2010, 2014), will buy an instrument used by the contemporaries of China (2010), Namibia (2012), Bolivia (2014) and North Machaut. If you love playing the music of Bach, at some America (2016); released two albums, La Marca (2008) and point will want to have a recorder of Bach’s period. Falando Brasileiro (2013); and organized three of the seven The recorder player should start with a modern instru- ENFLAMA National Recorder meetings. He studied with ment, which really functions very well. This is one of the Ricardo Kanji, Paul Leenhouts, Pierre Hamon and others. most important things for recorder players and teachers of Since 2012 he has completed teacher training in the Suzuki the future. I can assure you that if this development of the Recorder methodology in the U.S., Brazil and Peru.

www.AmericanRecorder.org Summer 2016 23 Compact Disc Reviews ______Dreaming in Music ______from Latin America and England

erdo Reviewed by Tom Bickley, as CD ($12.97) or mp3 download Her playing shines most [email protected], ($9.99); mp3 320 and FLAC formats http://about.me/tombickley also available, plus sample tracks. brightly in her work with Visit http://cleagalhano.com and less standard repertory.... L aTIN www.reneizquierdoguitar.com Her vibrancy comes Reverie. for more information. Cléa through in this new Brazilian American recorder recording, Latin Reverie. Galhano, player Cléa Galhano’s musicianly recorders; approach to standard repertory is Her vibrancy comes through in Rene well-documented in her recordings this new recording, Latin Reverie, as Izquierdo, with the Blue Baroque Band and the well as in her earlier releases Circle of guitar; Belladonna Baroque Quartet. To my the Dance (CD Baby/Pleasing Dog guest artist Elina Chekan, ears, her playing shines most brightly Music 789577628724, 2010) and Songs guitar. CD Baby 789577751620, in her work with less standard reper- in the Ground (Ten Thousand Lakes www. 2016, 1 CD, 58:00. Avail. from tory. She uses the recorder to make 7160929, 2003). Eleven pieces over cdbaby.com/cd/cleagalhanoreneizqui- music, “…in order to make a difference 18 tracks provide an hour of dreamy in people’s lives….” music, as the title implies. There is depth in the compositions, yet the feel of these dreams is light. Dance forms on this recording include samba, choro, bossa, guaguanc and tango. The Suite Buenos Aires by Maximo Diego Pujol and the Suite (1976) by Edmundo Villani Cortes provide more abstract versions of these dance forms. Ástor Piazzola’s Libertango and his less familiar Ave Maria work very well in these arrangements for recorder and guitar. Of the music on this recording, the two tracks that really stood out for me are the contemplative Enigma by Brazilian composer Brenno Blauth, as well as the movement “Microcentro” from Pujol’s Suite Buenos Aires, for its rhythmic descending motives. The recording captures the sound of the instrument at a close, intimate distance. It’s clean and listenable, though a bit more space in the stereo image would have been more flattering. The notes on the composers and the performers are very helpful. A

24 Summer 2016 American Recorder detailed track listing is available at of the music (e.g., original instruments Lesley-Jane www.CDBaby.com, though not in the and well-deserved credits to the Rogers, printed booklet or CD package. Given arrangers). soprano; the strength of playing and the artistry Latin Reverie by Galhano and Heather in the arranging of the music, it would Izquierdo showcases the recorder as Bills, be a pleasure to know details on instru- a musical instrument played with ’cello; ments used, as well as the arrangements nuance, subtlety and joy in an ear- Harvey catching collection of Latin music. Davies, harpsichord; Jonathan Price, Sonnets, Airs and Dances: ’cello; Manchester Camerata songs and chamber music Ensemble. Divine Art dda21531, by Philip Wood. John 2016, 1 CD, 71:21. Avail. from www. Turner, recorder; James divineartrecords.com/CD/25131info.htm Bowman, countertenor; as CD ($15.99); www.iTunes.com

www.AmericanRecorder.org Summer 2016 25 American Recorder Society Publications (mp3 downloads of album $9.99). Hear sample tracks at the Divine Art Musical Editions from the Members’ Library: web site or via iTunes. 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. The prodigious output of record- Algunos lugares 1 (A solo) Marcelo Milchberg Little Girl Skipping and Alouette et al ings featuring English recorder virtu- Arioso and Jazzy Rondo (AB) Carolyn Peskin (SATBcB) Timothy R. Walsh Belmont Street Bergamasca (ATB) Sean Nolan Los Pastores (S/AAA/T + perc) oso John Turner reflects his significant Berceuse–Fantaisie (SATB) Jean Boivert Virginia N. Ebinger, arr. engagement with contemporary Blues Canzonetta (SATTB) Steve Marshall Lullaby (AATB) and Cake Walk (SATB) from Bruckner’s Ave Maria (SSATTBB) Suite for Recorder Quartet Hildegard Erle English composers. The music on 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.) this beautiful Divine Art release is by Dancers (AT) Richard Eastman Erich Katz Philip Wood, and stands in the main- Danse de Village (SAB) Kevin Holland Nostalgium (SATB) Jean Harrod Danse from Primodal Episodes (SATB) Other Quips (ATBB) Stephan Chandler stream English musical idiom well- John Winiarz Poinciana Rag (SATB) Laurie G. Alberts Different Quips (AATB) Stephan Chandler Santa Barbara Suite (SS/AA/T) Erich Katz known in the works of Malcolm Elegy for Recorder Quartet (SATB) Sentimental Songs (SATB) David Goldstein, arr. Arnold, and aesthetically related to Carolyn Peskin Serie for Two Alto Recorders (AA) Elizabethan Delights (SAA/TB) Frederic Palmer the pastoral sound of Ralph Vaughn Jennifer W. Lehmann, arr. Slow Dance with Doubles (2 x SATB) Faded Memories/Opus 88 (ATBB/SATB) Colin Sterne Williams. William Ruthenberg Sonata da Chiesa (SATB) Ann McKinley In its own way, this music is every Fallen Leaves Fugal Fantasy (SATB) S-O-S (SATB) Anthony St. Pierre Dominic Bohbot 3 Balkan Line Dances (SATB) Emilie George, arr. bit as dreamy as the works on Latin Four Airs from “The Beggar’s Opera” (SATB) Three Bantam Ballads (TB) Ann McKinley Kearney Smith, arr. Three Cleveland Scenes (SAT) Carolyn Peskin Reverie. The recorder (and Turner’s Gloria in Excelsis (TTTB) Robert Cowper Three Dutch Folktunes from Hollantse Boeren- playing) take center stage in three of He Talks, She Talks (AT) Bruce Perkins lieties en Contredansen (SAAT/AAAA/ATTB) Havana Rhubarb Rhumba (SATB up to Victor Eijkhout the six works (Partita for Recorder and 7 players) Keith Terrett Three in Five (AAB) Karl A. Stetson Idyll (ATB) Stan McDaniel Tracings in the Snow in Central Park (SAT) Cello, A Lonsdale Dance and Concertino Imitations (AA) Laurie G. Alberts Robert W. Butts for Recorder and String Quartet), and In Memory of Andrew (ATB) David Goldstein Trios for Recorders (var.) In Memory of David Goldstein (SATB) George T. Bachmann share the spotlight with singer Lesley- Will Ayton Triptych (AAT/B) Peter A. Ramsey Jay’s Pyramid Scheme (SATB) Jay Kreuzer Two Bach Trios (SAB) William Long, arr. Jane Rogers in Sonnets, Airs and Dances Lay Your Shadow on the Sundials (TBgB) Two Brahms Lieder (SATB) Terry Winter Owens Thomas E. Van Dahm, arr. and Five Spring Songs. Leaves in the River (Autumn) (SATB) Variations on “Drmeš” (SATB) Martha Bishop The Partita is a stunning work for Erik Pearson Vintage Burgundy (S/AS/ATT) LeClercq’s Air (SATB) Richard E. Wood Jennifer W. Lehmann, arr. recorder and ’cello. The interaction of Western Union (ATBgB) Peter Dixon ZIP Code Boogie (SATB) Charlotte Van Ryswyk the two voices recalls the beauty of melody and bass line in Handel’s ARS Information Booklets: ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 recorder sonatas. Of particular depth Non-members: 1 booklet-$18, 2 booklets-$33, 3-$44, 4,$55, 5-$66, 6-$76, 7-$86 *Free online to ARS members is the “Nocturne” movement. Adding Percussion to Medieval and Improve Your Consort Skills Susan Carduelis In its two movements, Wood’s Renaissance Music Peggy Monroe Music for Mixed Ensembles Conce­ rtino for Recorder and String *American Recorder Music Constance Primus Jennifer W. Lehmann Burgundian Court & Its Music *Playing Music for the Dance Louise Austin Quartet develops gradually in the flow- Judith Whaley, coord. *Recorder Care Scott Paterson ing and dramatic “Adagio non troppo,” Education Publications Available Online and Free to Members and concludes with a bracing “Allegro The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). Guidebook to the ARS Personal Study Program (1996). con brio.” ARS Music Lists. Graded list of solos, ensembles, and method books. Sonnets, Airs and Dances and Five Videos Available Online to All Spring Songs are both quite substantial Recorder Power! Educational video from the ARS and recorder virtuoso John Tyson. An exciting pieces, with a great variety of mood in resource about teaching recorder to young students. Pete Rose Video. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music the setting of the texts. The writing for Festival recital. The video features Rose performing a variety of music and in an interview with ARS member professional John Tyson. recorder, harpsichord and ’cello both supports the voice and brings each Other Publications instrument into the foreground at Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering forming an ARS chapter. ARS members, $10; non-members, $20. appropriate moments. One free copy sent to each ARS chapter with 10 members or more. Consort Handbook. Available Online and Free to Members. This disc provides high audio Resource on consort topics such as group interaction, rehearsing, repertoire, performing. quality, and the CD package is very

Shipping & Handling Fees: Under $10 - add $3; $10-19.99 - add $4; $20-29.99 - add $5; $30-39.99 - well designed. The notes by the com- add $6; $40-49.99 - add $7. All prices are in U.S. dollars. For Canadian or foreign postage, pay by credit card poser invite the listener into the pieces. and actual postage is charged. . also accepted. Please make checks payable to ARS VISA/MC/AMEX/Disc The enunciation of Bowman and See www.AmericanRecorder.org for complete publication offerings. ARS, P. O. Box 480054, Charlotte, NC 28269-5300; tollfree 1-844-509-1422; Rogers is so clear that the inclusion 866-773-1538 fax; [email protected] of song texts in the booklet is almost unnecessary. 26 Summer 2016 American Recorder Education ______"Flauta de Pico," Alive in the ______Colonial Mexican City of Guanajuato

By Mary Halverson Waldo, tional" Suzuki instruments, [email protected] piano and violin. The common thread for all adult participants group of professional wind was that they wanted to know players, with wildly varying skills how to enhance their music Ain recorder-playing, spent an intensive teaching with the Suzuki week of training together last Septem­ Method ™. ber. The location: the extremely color- Along with the adults at ful and vibrant colonial city of Guana­ the festival, there were also stu- juato, nestled among the mountains of dents from young ages to teens, Central Mexico. The wind players, also who eagerly volunteered for music teachers, were curious about master classes in beginning claims they had heard—that any per- recorder (in addition to their son who can speak their native lan- other primary instruments of guage also has the ability, the inborn piano and violin). Each of these talent, to learn to play a musical instru- youngsters had a devoted parent ment; and that a teacher can learn to attending the classes with them, help students of any age make a taking notes and/or video, to beautiful sound from the beginning. record details and nuances for Among this group, only one-third effective practice at home. put in many hours of practice each day, specialized in recorder as their main Those teachers for whom recorder applying newly-learned skills and instrument, and their skills were quite was not a "first" instrument had no ini- memorizing the extensive repertoire. good. The rest were savvy, experienced tial plans to take the final performance They generously helped each other, young musicians who played flute, exam, to get official credit, or even to even providing moral support during oboe, clarinet and trumpet, with begin- teach recorder. What happened was the final exam. They had numerous ning to intermediate recorder skills. that they unexpectedly fell in love with low-stakes performance goals through- Suzuki Unit 1 Teacher Training the unique and beautiful sound of the out the week—from taking turns for Flauta de Pico (Recorder) was recorder! What followed became an playing short solo phrases in class, to being offered for the first time at the intensive week of enthusiastic learn- several group performances in public. 7th Festival Internacional Suzuki , ing—leading to all participants taking This Festival took place during Guanajuato, along with the "tradi- the exam and receiving full credit for the big celebration of Mexican Inde­ the Unit 1 course. pendence from Spain and, Guanajuato Passing the final exam was having played a key role in the success no small feat, so how did these of the colonial revolution, there was a folks gain the needed skills in huge population of tourists on the such a short time? They had scene. Concerts by the Suzuki students a deep desire to learn. They and teachers were scheduled through- already had skill sets with their out the historic town center, on old own wind instruments, many cathedral steps, at street corners, and of which “crossed over” to in the large city auditorium. As audi- recorder technique. They ences heard them perform simple folk listened to good recorder tunes with skill and excellent musician- playing—live, in the classroom, ship, many said, “I had no idea the and through recordings. They recorder could sound so beautiful!”

www.AmericanRecorder.org Summer 2016 27 Music Reviews ______Sammartini, Vivaldi, ______and two related party pieces from Glen Shannon

TWO editions from Glen Shannon Music, by Glen Shannon, www.glenshannonmusic.com You will quickly be in a party mood.

MUSES, PARTY OF FOUR. GSM1003, 2011. AA, and A (covering the bell). While the harpsichordist suddenly bass gamba, obbligato hc. Sc 26 pp, 4 pts, 6-14 pp ea. $25. busily plays octaves with alternating hands, the other players Perhaps the best person to describe this delightful slow down to staccato notes in the background. This move- four-movement piece is the composer himself. You can ment returns to its more conversational counterpoint and read Shannon’s complete description of Muses at his ends on a Phrygian-like cadence, making the final D major web site, www.glenshannonmusic.com. chord sound unresolved—pushing the performance right This is a great piece, but it requires four advanced play- into the next movement, "Alla siciliana" in G minor. ers. Muses does not use a traditional basso continuo— The lovely “Alla siciliana” begins with the recorders tak- it calls for obbligato harpsichord; the performer must play ing the melody, but within nine measures the solo interest what is written, and what is written is very showy! shifts to the harpsichord. The bass gamba sometimes plays Muses was commissioned by The Antwerp Ensemble, along with the harpsichord’s bass line and sometimes sepa- a chamber quartet based in Michigan, in memory of Mary rates into a melodic life of its own. The recorder parts main- Forrester, who passed away in summer 2010. They requested tain melodic interest, even as the harpsichord part becomes a piece similar to Shannon’s Trio Sonata for Barbara showier. There are some measures of hemiola for the record- Steinberg (SMM320), but with more flashy, solo parts ers and gamba, against the more complex twists and turns of for the viola da gamba and harpsichord. the harpsichord figuration. Sometimes the upper three parts Shannon has intentionally and successfully blended back out of the way to let the intricate harpsichord part the conversational style of the Telemann Paris quartets shine through, but they happily return when the harpsichord with the harpsichord display found in Bach’s fifth becomes more continuo-like. Brandenburg concerto. To quote Shannon, the final “Gigue” is “almost a The short four-measure introduction, “Mysterioso,” chamber concerto in itself, with a slow middle episode moves to a dominant chord with the performance instruc- framed by fast outer segments. The theme and counter- tion in the harpsichord: “roll up and down the chord in a theme are shared by all four players during the exposition, melodramatic fashion.” Right at this moment, we know which comes to a gentle stop as the viola da gamba quietly we will have fun, both as performers and as listeners! begins a relaxed interlude of contrapuntal interweaving. The second movement, “Scherzo,” begins with a playful Each outer section contains a rapid solo passage for the theme in the gamba, but the recorders soon enter and harpsichord—the first one bright and sparkly, and the demand their fair share of the excitement. This theme runs second with a hint of blues. The latter ends with the soloist around canon-style at the unison (but not in strict canon)— collapsing in a heap, signaling the final recap in a straight often at the distance of two beats and using tricky off-beat gallop to the finish.” I could not have described it better. entrances, making it quite the rhythmic challenge that I will add that all of the parts in the movement are a demands absolute precision. bundle of fun to play. Sometimes, Shannon tosses out the By measure 37, the recorders have settled down into traditional part-writing rules: note measures 40 or the pen- half notes, the gamba has tamer eighths, and the harpsichord ultimate measure 194, where all four parts suddenly join takes off Brandenburg-style. While this is certainly a flashy together in parallel unisons/octaves. harpsichord part, it is not impossibly difficult to learn. If the One particularly nice section (beginning in measure 56) harpsichordist knows scales and arpeggios, it falls naturally has the two recorder parts bouncing in mostly contrary under the fingers. motion while the gamba (and the left hand of the harpsi- The recorderists must be able to accomplish consider- chord) hold a C pedal point while the right hand of the able running about in the highest range, including high F, G harpsichord is playing upward-bound arpeggios. Everyone is kept busy here.

28 Summer 2016 American Recorder The movement is brought to Consider that Shannon After a development of motives a pause with an arpeggiated chord, from subject/countersubject, the followed by a 20-measure Adagio. is composing in 2004 recapitulation once again states the Near the Adagio’s conclusion, the in a style that faded subject in all three voices. There is first recorderist must play that feared into Classicism more episodic material, including high F# that requires covering the some nice measures presenting orna- bell during a rapid passage. around the year of mented suspensions Corelli-style! The parts are nicely-published Bach's death (1750)— After a fanfare-like passage, with to avoid all page turns, and the harp- well, why not? repeated notes in the recorders against sichord part is printed separately from arpeggios in the bass line, comes a sur- the full score in order to minimize any other composer, he adds his own prise: a climactic move to a dominant- page turn problems. personal touches to that style. seventh chord, with a fermata. It does If you know advanced players, All four movements of this trio not lead to a cadence, but to an eight- invite them over to sight-read this. sonata are in D minor, something that measure adagio involving only the two You will quickly be in a party mood. is more suite-like than sonata-like, but recorders. One can always count on This is a must-have piece to add to internal modulations keep the listener such surprises in Shannon’s music! your repertoire. interested. The third movement “Andante” is The first movement is an “Adagio” my favorite, more imitative than strictly TRIO SONATA NO. 1 IN D in a loose ABA form. In the A section, fugal. There is a wistful, longing main MINOR. SMM320, 2004. AA (or vio- the two recorder parts play in homo- theme that sounds in both alto voices lins), bc. Sc 23 pp, 3 pts 6 pp ea. $10. phonic rhythms against the bass line and the bass line, with lovely interac- Having reviewed Glen Shannon’s that often moves in contrary motion, tion of the higher voices with the bass. Muses, Party of Four, I became curious exchanging melodic material on the We tried this movement as a modified about his first Trio Sonata. Muses was return of the A section after a more AAB trio and loved it. commissioned with the idea that it contrapuntal B section. Near the end, Shannon uses a would be “similar” to this Trio Sonata— The second movement, “Allegro,” deceptive cadence to extend the but this one is composed in 2004 for is a three-part fugue with a very active movement, finally concluding a Barbara Steinberg’s group, which subject that includes repeated notes, minor movement with a major chord requested an instrumentation of two syncopation and chromaticism. The (using the Picardy third). alto recorders, modern ’cello, and piano, subject is first heard in alto I, then in The fourth movement, another with the right hand of the piano real- alto II and finally in the ’cello/continuo “Allegro,” is essentially a gigue in 6/8 ized. Harpsichord and gamba also parts. There is also a fully-defined time, constructed similarly to the sec- work very well. Shannon gives the key- countersubject; its syncopation as well ond movement. It begins with a six- board player the freedom to create the as 16th notes offset the repeated notes measure subject that is heard in all realization, although figures are not in the subject. three voices and also has a clearly provided. Shannon’s right hand is very nicely realized; it fills and balances places where there is less activity in the recorder parts. I always look forward to seeing a new Shannon piece, and this one did not disappoint! It is steeped in pure Baroque style (not neo-Baroque). Consider that Shannon is composing in 2004 in a style that faded into Classicism around the year of Bach’s death (1750)— well, why not? The trio sonata is infused with the joy and the gestures of Baroque music as much as many other Baroque composers I’ve loved. Shannon knows the style well, and, like

www.AmericanRecorder.org Summer 2016 29 defined countersubject. The develop- DREI SONATEN (THREE tice). Even more than the technical ment section places the subject in SONATAS), by Giuseppe difficulties, the great challenge in stretto and leads, in a more fragmented Sammartini, ed. Lara Dalla these works is to put across their Libera manner, up to a high Ab in alto I. . Girolamo Musikverlag musical shapes, which have a For four measures near the end, G12.034 (www.girolamo.de), 2013. distinctly experimental quality. all the voices join together rhythmi- A, bc. Sc 20 pp, pts 10 pp ea. Abt. $30. The edition is well-laid-out cally, playing six eighth notes per mea- Giuseppe Sammartini is well- and includes an informative preface, sure in parallel rhythm—then a quick known to recorder players because of though the editorial emendations in four-and-a-half measures to the end, his Concerto in F major for the soprano. the music are marked as such only in an exciting conclusion! He was a master recorder player him- the score and not in the parts. At the Upper intermediate players might self (as well as an oboist and flutist) and very least, these pieces deserve atten- find the first three movements to be left many recorder sonatas, including a tion as original recorder music by sight-readable and the final movement collection of 17 works preserved in a a master of the instrument. Their needing a touch of practice. Advanced manuscript in Parma, Italy. idiosyncrasies just add to the interest. players will sail right through the piece. Three of those Parma sonatas are I hope for more trio sonatas and presented in this edition. (For those SIX SONATAS FOR THE chamber works from Shannon. who know Sammartini’s sonatas, they RECORDER, by Antonio Sue Groskreutz has music degrees are Sanv. D.1 Nos. 4, 13 and 16, and Vivaldi, ed. Patrick Blanc. from Illinois Wesleyan University and are not duplicated in the Sibley manu- Editions Francois Dhalmann FD0402 the University of Illinois, plus Orff- script or the printed Opus 2 set.) (www.dhalmann.fr/en-us), 2013. Schulwerk certification from DePaul Those familiar with Sammartini’s Sc 31 pp, no pts. Abt. $18. University. Playing and teaching recorder Concerto will perhaps be surprised by Patrick Blanc’s desire to expand are the greatest musical loves of her life. his sonatas, which are generally in a the possibilities for recorder players to For 10 years she was president of the more modern style, of which the three play Vivaldi’s music has resulted is an American Recorder Teachers’ Association. works in this collection are typical. unusual collection of pieces that is not Each sonata is in three movements, as straightforward as the title may sug- in the pattern fast-slow-fast. gest. As Blanc himself outlines in his There is less emphasis on melody preface to the volume, Vivaldi only than in the concerto, particularly in the wrote one sonata for the recorder— opening movements, which instead in F major, RV52. Blanc has comple- conspicuously feature challenging fast- mented this single original work by note figuration. Similarly, two of the transcribing the four flute sonatas three slow movements rely principally attributed to Vivaldi, RV48-RV51, on quick figuration for their effect. The as well as the most authentically closing movements are the most tradi- Vivaldian of the Pastor Fido sonatas tional, being in triple time with a concocted by Nicolas Chédeville, No. 6 lighter, dance-like feeling. in G minor, RV59. Rather than reprint Perhaps the most striking feature Chédeville’s version, however, Blanc of the sonatas is the unorthodox har- has gone back to Chédeville’s model, monic progressions that Sammartini Vivaldi’s lost Violin Concerto, RV316, explores, especially in the opening and via J.S. Bach’s transcription of the work middle movements. These often lead for keyboard, BWV975! to unexpected accidentals for the per- The resulting collection is a bit formers and a sense of temporary dis- of a hodgepodge, but it does show placement for the listener. Vivaldi’s approach to wind-writing The technical demands in these from various perspectives. The colorful, three pieces are not as great as in virtuosic writing found in Vivaldi’s Sammartini’s more extreme sonatas, concertos is only fleetingly in evidence; but the music will still be most com- however, the sonatas are generally fortable for an advanced performer (an tuneful and well-constructed. upper intermediate player would find In RV52, Blanc follows Walter them manageable with diligent prac- Kolneder in proposing an alternative

30 Summer 2016 American Recorder final movement by Vivaldi that is based any figures for the bass. Although more MOTETS FOR FOUR VOICES, by on the same theme, but that is more and more players are capable of playing Alessandro Scarlatti, Trans. extensive than the very short original. from even an unfigured bass, this still Charles Nagel. Cheap Trills Two of the flute sonatas are transposed has to be considered a limiting factor TR88, 2015. SATB (TrTTB viols). to a higher key, but RV49 and 51 are for the edition and a real frustration Sc 12 pp, pts 4 pp ea. $14.50. left at pitch; in RV49, individual notes for those who do not have access to MOTET AND SECTIONS FROM are transposed an octave as necessary. a player with the required skills. MASS “Quam Pulchri Sunt The Vivaldi/Chédeville/Bach As well, it must be noted that, Gressus,” by Tomàs Luis de work is the least successful, mostly quite impractically, only a single Victoria, Trans. Charles because Blanc has adhered very closely score is provided along with frequent Nagel. Cheap Trills, TR89, 2015. to Bach’s keyboard transcription. This reminders not to photocopy. Editorial ATTB (TrTTB viols). Sc 11 pp, results, for instance, in highly complex suggestions are clearly marked, but pts 3 pp ea. $13. ornamentation in the Largo, which is there are some evident misprints and These two new editions from not altogether idiomatic to the recorder one or two awkward page turns. Cheap Trills will find a welcome from (though Blanc also offers an unorna- Those with a strong interest in both recorder and viol consorts—espe- mented version), as well as a very high- Vivaldi will want to explore this set. cially TR89, Tomàs Luis de Victoria’s lying continuo line derived from the Others may find working on it difficult. motet and mass movements on the left hand of Bach’s version. As well, Scott Paterson, a former ARS Board text, “Quam Pulchri Sunt Gressus,” the recorder has two instances of Eb member, teaches recorder and Baroque excerpts from the Song of Solomon, in the last movement with no sugges- flute in the Toronto (ON) area, where he chapter 7. The musical theme of the tions as to how they may be adapted. is a freelance performer. He has written motet, found in the first volume of The sonatas are presented only on music for various publications for over Victoria’s Complete Works, becomes in score without any realization for the 25 years, and now maintains his own the basis of the Kyrie and Gloria continuo; in three of the sonatas, Blanc studio after over 30 years at the Royal from the mass, found in Volume 2 follows the original in not providing Conservatory of Music of Toronto. of the Works.

www.AmericanRecorder.org Summer 2016 31 A shout-out of thanks to nately, the editor has declined to pro- KEY: rec=recorder; S’o=sopranino; vide the texts that make these motets S=soprano; A=alto; T=tenor; B=bass; Charles Nagel for finding effective musical statements. In the gB=great bass; cB=contra bass; Tr=treble; qrt=quartet; pf=piano; fwd= foreword; and so beautifully producing one case in which he gives a hint as to opt=optional; perc=percussion; pp=pages; great music from the past where to find the text, it is misattrib- sc=score; pt(s)=part(s); kbd=key­board; bc=basso continuo; hc=harpsic­ hord; at reasonable prices. uted: “Ad te Domine levavi animam P&H=postage/handling. Multiple reviews meam” is not from Psalm 24, but by one reviewer are fol­lowed by that The Gloria, as one of our test Psalm 25:1-3. review­er’s name. Publi­ca­tions can be purchased from ARS Business Members,­ musicians said, is “truly Glorious.” For those who might want to your local music store, or directly from Arranged by Charles Nagel a step play these pieces but lack the Latin some distributors. Please submit music and books for review to: Sue Gros­kreutz, higher than the original (for the to translate them, the other texts are as 1949 West Court St., Kankakee, IL 60901 U.S., convenience of the recorders), the follows: the second one, “Ad Dominum [email protected]. pieces sound scrumptious on ATTB dum tribularer,” is Psalm 120:1-2; Classified rate for American Recorder: 60¢ per recorders at pitch. the third, “Exaltabo te Dominus” uses word, 10-word minimum. “FOR SALE” and The sudden contrast of the three Psalm 30:1-2; and the fourth “Exsurge “WANTED” may be included in the copy lower voices in a trio for the Agnus Domine,” begins with Psalm 9:19 and without counting. Zip code is one word; phone, e-mail or web page is two. Payment Dei section, and the recitative-like ends with verse 3. must accompany copy. Deadlines are homophonic “Quoniam tu solus sanc- While these pieces could be one month before issue date. Send copy with payment to: ARS, P. O. Box 480054, tus” (Thou Only art Holy) followed played to good effect with a choir or Charlotte, NC 28269-5300. by the rising lines of the final Alleluia small vocal ensemble, or even set up provide a satisfying musical experience with spoken narration, we did not find Consider advertising in with or without the texts. them gratifying just as instrumental The Scarlatti motets (TR88) are pieces. However, one can always use less able to stand alone as instrumental such pieces to practice being “oratori- music, at least for our two groups of For current rates and specifications, see cal” with instruments. http://americanrecorder.org/advertise_ testers. They are “graduals,” or settings Once again, a shout-out of thanks with_ars.php. Please inquire about discounts on multiple-issue contracts or other special of Psalm texts used as readings in the to Charles Nagel for finding and so requests. Advertising subject to acceptance Catholic liturgy throughout the year. beautifully producing great music by magazine. Reservation Deadlines: January 1 (Spring), April 1 (Summer), Being Baroque, the motets explore from the past at reasonable prices for July 1 (Fall), October 1 (Winter). much more word-painting than the recorder ensembles. Our test groups For more information, contact the ARS Victoria; at the same time, they utilize also think he could sell for an addi- office,P. O. Box 480054, Charlotte, NC a greater rhetorical contrast of melodic tional small fee the “solutions” to the 28269-5300; 704-509-1422; tollfree 1-844-509-1422; 866-773-1538 fax; and declamatory text setting. allegories of his witty collage covers. [email protected] Chromaticism makes its way into Suzanne Ferguson is active as an Advertiser Index the emotion of the pieces, and brusque early musician in Ft. Myers, FL. She enunciation is called upon for the served on the ARS Board in the 1980s AMERICAN ORFF-SCHULWERK ASSN...... 29 AMERICAN RECORDER SOCIETY . . . . . 1, 25, 26, 32 Psalmist’s invocation of God’s wrath and is past president of the Viola da TURE BERGSTROM...... 6 on the Psalmist’s enemies. Unfortu­ Gamba Society of America. STEPHAN BLEZINGER RECORDER WORKSHOP. . . .16 American Recorder (ISSN: 0003-0724), P.O. Box 480054, Charlotte, NC 28269-5300, is pub- JEAN-LUC BOUDREAU, RECORDER MAKER. . . .13, 14 lished quarterly for its members by the American Recorder Society, Inc. $36 of the annual $45 U.S. COLLEGE MUSIC SOCIETY...... 19 membership dues in the ARS is for a subscription to American Recorder. 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32 Summer 2016 American Recorder