March 2016 Vol

SEATTLE RECORDER SOCIETY

Recorder Notes

March 2016 Vol. XLVII, No. 7

www.seattle-recorder.org

From the Music Director (Vicki Boeckman) SRS Meeting Greetings, Everyone, Friday, March 4th, 2016 (Peter Seibert) Ah, the light doth return to the great @ 7:30 p.m Northwest! February and March are such hopeful months, are they not, with winter buds blossoming and the light enticing us with promise of longer days? Opening Program Sand Dalton Speaking of promises, I promised the large Historical Oboes group that we would revisit Peter's arrangement of Handel's “Music for the Royal Fireworks.” Such a grand piece deserves a lot more attention than we were able to give it at the Playing Session) January session. I would like to devote most of the evening to this 8-part (Vicki Boeckman) five-movement work. Here is a little bit of history. Thirty years after King Handel’s “Music for George's memorable barge trip on the river Thames in 1717, for which the Royal Fireworks” Handel's “Water Music” was written, Charles II was eager to celebrate the and Josquin Desprez’ end of the long, slow war. No expense was to be spared, and an over-the-top “Ave Maria . . . Virgo serena” grand extravaganza in London's Green Park complete with fireworks and theatrical backdrops was set in motion. Handel, being the composer of (All sizes of recorders, viols, choice for all royal celebrations, was called upon to write the music for and soft reeds welcome) this grand event. We know that the music was an incredible success with timpanis, natural trumpets, horns, winds, and strings, but unfortunately the fireworks display was doused by a downpour of rain. Luckily we will The Backroom Gang be indoors when we play on March 4th! (Laura Faber)

Before plunging into the Handel, I would like to invite everyone to Music will be provided. play Josquin Desprez' gorgeous 4-part “Ave Maria … Virgo serena.” This is Continuing with tunes from the perhaps Josquin's most famous composition—certainly the work that is Shakespearean and Jacobean most often sung today. Written sometime between 1476 and 1497, during eras arranged for 3 and 4 the composer's service at one of several French and Northern Italian courts, recorders. We may also play it was first printed at the beginning of the first volume of motets ever a new arrangement of a Welsh printed—in 1501, by Petrucci: the Harmonice Musices Odhecaton. tune or two by Steve Marshall. SATB recorders welcome. For a sneak peek at the music, SATBGbCb recorders, viols, and soft reeds welcome. contact Laura Faber at [email protected].

Next Newsletter Deadline: Friday, March 18th

About the Opening Program Sand Dalton: Historical Oboes (Vicki Boeckman)

On March 4th, instrument maker Refreshments and performer Sand Dalton will bring over a half dozen historical oboes to (March) (Peter Seibert) demonstrate and describe to the Seattle Recorder Society. He has spent the last 40 years studying and making copies of a Cookies diverse group of instruments dating from Betsy Darrah the end of the 17th to the beginning of the Cedron Sterling 19th centuries, and he will be happy to answer any questions members might have about these unusual horns! Fruit Barbara McKnight

Veggies Nancy Gorbman

Thank you for volunteering!

(Photo by Meg Partridge)

Help Wanted! 2015/2016 SRS Meetings

(Hanan Bell, SRS Board President) Meetings are usually (but not always) held on the Your Board of Directors is looking for volunteers to help in a first Friday of each month, number of areas including the newsletter, serving on the Board, helping September to May, with the library and the website, and possibly other areas you might at 7:30 p.m., Maple Leaf suggest. Lutheran Church, (Peter Seibert) 10005 - 32nd NE, Seattle. Can you help your Society? Please check in with any Board member Meetings include a short to let us know of your availability. performance or lecture of

interest to recorder and viol Thank you! players, ensemble playing for all levels of recorder players, and a beginning recorder ensemble. A $5.00 donation is requested for non-members.

September 11, 2015 First Notice for Members’ Night! October 9, 2015 November 6, 2015 Members’ Night in 2016 is Friday, May 6th. December 4, 2015 January 8, 2016 While that’s still some time off in the future, it’s never too early to February 5, 2016 March 4, 2016 (Peterstart thinking Seibert) about performance possibilities. More information will be April 8, 2016 provided as the date gets closer. May 6, 2016

An Interview with Sally Mitchell of the Backroom Gang (Vicki Boeckman)

The Backroom Gang will be led by Laura Faber for the March meeting. To share a bit of history of the “gang” with all SRS members, Vicki Boeckman interview(Peter edSeibert) Sally Mitchell.

Vicki Boeckman: What is the main purpose and intent of the Backroom Gang?

Sally Mitchell: The purpose of this group is to provide an ensemble experience for players who are not yet ready to play in the large group. This has included beginners, returning players who are rusty, and players who are switching recorder sizes. I aim to provide a supportive and educational setting, preparing them to be “mainstreamed” back into the big group.

Vicki: Please give us the back story on the Backroom Gang. How did it start and how long has it been going on?

Sally: Actually, SRS has had a lower-level group going for decades, under various names. Peggy Monroe led it from 1985 to 2007 and named it Petite Consort (to contrast with the “Grand Consort” that Peter led). I took over in 2010. At first I had no “group” per se. Although there were some players for whom the Grand Consort was a challenge, no one wanted to break away and work separately. I would sit next to whoever was having difficulty and help them out by indicating entrances, pointing to our spot in the music when they got lost, and reminding them of fingerings. In that way I became the “Recorder Coach.”

When Laura Faber began teaching recorder classes we suddenly had a group of beginners coming to SRS. This group was advancing steadily, and I tailored my music selections to their progress. The size of the group grew steadily as well; at one meeting we had 16 players! Laura’s students worked hard and kept improving. I eventually declared that this was no longer a “Beginners” group, and renamed it the Backroom Gang. By this past fall, Laura’s group of students had all graduated into the big group, and the Backroom Gang shrank drastically. I had only two people at each of the first three meetings of the year. In January, however, a robust group of four showed up. I’m hopeful that they’ll continue.

Vicki: What types of pieces do you play?

Sally: I use a wide variety: Bach chorales, Renaissance dances and vocal music, a little bit of medieval music, and some pieces composed for the group.

Vicki: Is it hard to prepare when you're not sure who is going to show up, or do you enjoy the challenge of being able to improvise?

Sally: Sure, it’s hard to prepare for an unknown group. I always have a variety of music with me that will (hopefully!) suit the group that comes. I choose music that will work with players of different abilities and that emphasizes different technical and musical challenges. I do enjoy the challenge of “making it work” —it almost always does! But, of course, the planning is easier if I have a consistent group (as I did for a few years).

Vicki: You've been teaching a long time, so I'm sure you have many pearls of wisdom in your back pocket.

Sally: My advice to beginning players: be patient with yourself, allow yourself to develop at your own pace, celebrate your progress, and practice!

Two Celebrations for “Play-the-Recorder Month” — March, 2016

First Event: Saturday, March 12th — 10 a.m. – Noon

What: “Play-the-Recorder Month Repertoire Past and Present” Explore the new piece “Steamed Bass and Fischmaul” by Matthias Maute & look at old favorites from years past.

Where: 5730 NE 60th Street, Seattle

RSVP: Everyone welcome, but RSVP is needed to be sure there are enough copies and space.

Contact: Laura Faber at [email protected] or (206) 619-0671.

Second Event: Saturday, March 19th — 1 p.m. – 2 p.m. You are invited to a celebration of the recorder! Come and enjoy a variety of ensembles. If you would like to participate, please see the information below.

“Play-in”: All recorder players are welcome to play. Bring a stand to set up in front of the stage with a warm-up beginning at 12:50 p.m. We will play at 1:00 p.m. Anyone who can read music on the recorder is welcome to play (intermediate level and up). We will play “Steamed Bass and Fischmaul” by Matthias Maute, composed especially for the occasion of “Play-the-Recorder Day” which is March 19th, 2016! Copies of the “Play-in” music will be available at the event, or ARS (American Recorder Society) members can print a copy in advance at www.americanrecorder.org (see the Programs menu). ARS members can also find a copy of the music score in the centerfold of the Winter 2015 issue of American Recorder magazine.

Main Program: Groups can sign up if there is still space. Please contact Nancy Gorbman at Music from Around the [email protected] or (206) 852-4762. The theme this year is “Dances & Stories” so the music should relate World: Dances and Stories to this theme in some way (i.e., music in a dance form, accompaniment to a dance, music that tells a story or accompanies a story . . . use your imagination!). Groups A “Play the Recorder Month” Celebration! of young adults, children, or mixed ensembles are welcome to play. Playing time should be approximately 5-10 minutes with a very brief introduction, if any Saturday, Mar. 19, 2016 (2-4 sentences). Plan to arrive 30 minutes early— (1:00pm - 2:00pm) by 12:30 p.m., if possible.

Third Place Commons To find out more about the ARS “Play-the- Recorder Month,” read the current issue of ARS NOVA 17171 Bothell Way N.E., Lake Forest Park (the ARS eMagazine). If you haven’t already subscribed, click this link to sign up—it’s free! Join us for a concert of recorder music for all ages. http://www.americanrecorder.org/index.php *********** "Play-In" begins at 1:00pm in front of the stage for “Play the Recorder Day”. Bring your own recorder if you would like to play – music provided. For more information, contact Nancy Gorbman Enter a free drawing to win a plastic recorder! at [email protected] or (206) 852-4762.

I look forward to seeing you at Third Place Sponsored by the Seattle Recorder Society and the American Recorder Society. Commons on March 19th!

For Sale (Silke Harper) SRS Board Members

Mollenhauer Morgan Special (2015/2016) Recorder Classes edition Denner Alto A-440 (Laura Faber) Music Director: Vicki Boeckman (206-985-9916) *Modeled after the original [email protected] Note: New beginners are welcome (Peterinstrument Seibert) in the Historical at any time. Instrument Music museum in Music Director Emeritus: Contact Laura to get started. Copenhagen. Peter Seibert (206-329-2774) [email protected]

*Zapatero Boxwood with a Advanced Beginner/Lower Officers: beautiful stained finish. Intermediate Ensemble President: Hanan Bell Mondays – 7:45 to 9:15 pm *ca. 6 years old; in excellent (206-695-2276) [email protected] condition. Advanced Beginner/Lower President-Elect: Mike Woolf (206-300-6623) [email protected] Intermediate Ensemble *Asking price $850. Thurs. – 10:30 am to 12:30 pm Past President: Kathleen Arends Please contact Silke Harper at (425-649-9869) [email protected] Intermediate Ensemble [email protected] Secretary: Kathleen Arends Mondays – 6 to 7:30 pm (425-649-9869) [email protected]

Bass Class Treasurer: Richard Ginnis Saturdays – 10 am to 12 pm (206-633-1969) [email protected]

* * * * * * * Class Descriptions

Membership: Betty Swift (206-323-3879) [email protected] Advanced Beginner/ Lower Intermediate Ensemble (SATB) Newsletter: Karen Berliner (206-550-3384) Comfortable with all common [email protected] fingerings and rhythms * * * * Refreshments: Molly Warner Intermediate Ensemble (SATBGB) (206-523-5192) Spring is almost here! [email protected] Playing both F and C instruments, counting halves, reading from parts Webmaster: Charles Coldwell (206-328-8238) Bass Class [email protected]

Any player interested in learning Members-At-Large: more about bass technique may join Ellis Hillinger at any time. (206-547-0718) [email protected]

Katie Sprugel [email protected] * * * Carolyn Wallace (206-782-6898) People who are interested should [email protected]

contact Laura by email at “Recorder Notes” is published monthly, [email protected] September through May, for its members or by calling (206) 619-0671. by the Seattle Recorder Society. 4554 - 4th Ave NE, Seattle, WA 98105. $35 Annual Membership Dues. www.seattle-recorder.org

Meeting Notes: February 5th, 2016 (Kathleen Arends) Our guests this evening were the versatile Phil and Gayle Neuman from Oregon City, Oregon. So that we could play as much music as possible with them, we had no opening program. They packed our evening with fun- to(Peter-play music, Seibert) all in Phil's Big-Note Editions for ease in reading!

We began with a canzona, “La Robbata,” by Russian organist Floriano Canale. Phil had invented two more parts for us to play along with Canale's original four. Gayle had us clarify our playing by separating repeated notes, and made certain we didn't play in the rests!

Sally Mitchell and her Backroom Gang of three played the opening canzona in the big room, then retired to the back to enjoy “Since First I Saw Your Face,” “Pastime With Good Company,” “The Three Ravens,” “Lord Willoughby,” and “All in a Garden Green” (up to dance tempo!). The Board of SRS believes that it is important to serve the interests of a wide range of recorder musicians by offering this alternative to the big group.

Out front, we next had a set of lively dances from 17th-century Transylvania. Phil gleaned these from the Codex Caioni, which turned up in the 1980's after having been hidden, during World War II, in the walls of a monastery. He arranged them from the German organ tablature used by Caioni.

After that came a very interesting tribute to Venice by Johannes Ciconia (born about 1370), “Venecie mundi splendor.” Ciconia wrote several of these motets in praise of cities. In this one, the two upper voices have two different texts, one of which includes the composer's own name. Other interesting features include hocket, and imitation following at just half a beat—somewhat similar to the effect a recording engineer creates today by increasing the “reverb” applied to the sound!

In answer to a question, Phil said that one way of indicating a meter change in the days before time signatures was to use different colors of ink for different meters: black for two, and red for three. He also noted that a papal bull was issued regarding several of the compositional practices in this medieval music, including a ban on hocket because “it makes the singers appear to be gasping for air.” The Landini and double leading tone cadences, and other practices, disappeared, too; and it became popular opinion that “music over 40 years old is not worth listening to.”

We followed that with a set of galliards published by the important printer of music Pierre Phalèse: “Si pour t'aymer,” “Mais pour quoi,” and “Au joli boys.” The correct tempo for a galliard is determined by the dance steps it accompanies, which are so athletic that Queen Elizabeth used to perform 16 sets of galliards each morning before breakfast, as her exercise. (The Neumans noted that her musicians, too, had to get up early to play for this regimen!) Gayle led us in performing the steps before we played.

Then, from the Regensburg Manuscript, we had a chanson whose parts have limited ranges suited to double-reed instruments: “Tant vous alles doulx guillemette.” So, we added a few buzzies to our sound. Phil noted that this manuscript was the working book for a real band, as evidenced by notations such as instrument names written in next to the staves.

Finally, we played Vernon Duke's “April in Paris.” Phil made the arrangement from the one made for Count Basie's band by pianist “Wild Bill” Davis. It includes an incongruous quote from “Pop! Goes the Weasel,” which Phil explained had been the idea of one of the jazz musicians involved in the original recording of the piece; then, after the record became a big hit, audiences expected all performances of “April in Paris” to include the quote. We captured the proper laid-back swing style by playing smoothly connected, unevenly-timed eighth notes. * * * * * * * * * * * * * *

Concerts and Events Calendar

Fri., Mar. 4 @ 7:30 pm: Seattle Recorder Society Meeting. Maple Leaf Lutheran Church, Seattle.

Sat., Mar. 5 @ 7:30 pm: Byrd Ensemble presents: “In the Queen’s Favor.” Music by Tallis and Byrd. St. Mark’s Cathedral, 1245 10th Avenue E, Seattle. www.byrdensemble.com

Sat., Mar. 5 @ 7:30 pm: Salish Sea Festival presents: “Hanover Baroque—Baroque Trio Sonatas.” Bernward Lohr (Germany), harpsichord; Anne Rohrig (Germany), Baroque violin; and Jeffrey Cohan, Baroque flute. Christ Episcopal Church, 4548 Brooklyn Ave NE, Seattle. www.salishseafestival.org

M Sat., Mar. 5 @ 8 pm: Medieval Women’s Choir presents: “The Songs of the Angels.” TP.

www.medievalwomenschoir.org A R Sun., Mar. 6 @ 1:30 pm: Vicki Boeckman and Miyo Aoki, recorders, with Jonathon Oddie, harpsichord, playing music of Sweelinck, Merula, Rossi, Rosier, and others. St. Placid Priory, 500 College St. NE, Lacey.

C Sun., Mar. 6 @ 7:00 pm: Byron Schenkman and Friends present: “Mozart Piano Quartets.” Liza Zurlinden, H violin; Jason Fisher, viola; Nathan Whittaker, cello; and Byron Schenkman, piano. Benaroya Hall, Seattle. www.byronschenkman.com

Sat., Mar. 12 @ 10 am: “Play-the-Recorder Month” event. “Play-the-Recorder Month Repertoire Past and

Present .” Play “Steamed Bass & Fischmaul” by Maute and old favorites from years past. Everyone welcome, – but RSVP is needed to ensure copies and space! Laura Faber (206) 619-0671 or [email protected]

Sat., Mar. 12 @ 2 pm: Moss Bay Recorder Society Meeting. Foster Library, 4060 S 144th St, Tukwila.

www.mossbayrecorders.org

Sat., Mar. 12 @ 8 pm: Seattle Baroque Orchestra presents: “Multiple Bach: Concertos on Caffeine.”

Reconstructions and arrangements of concertos from Bach’s Kaffeehaus concerts. TH. EMG 2 Sun., Mar. 13 @ 3 pm: Early Music Underground presents: “Spring in the Garden of Aranjuez.” Baroque 0 violinist Ingrid Matthews and harpsichordist Henry Lebedinsky. Northwest Cellars, 11909 124th Ave NE, Kirkland. www.emuseattle.com 1 Sun, Mar. 13 @ 3 pm: Seattle Bach Choir presents: “Singet Dem Herrn.” Music for choir and strings by 6 Monteverdi, Telemann, Mozart, and Bach. TP. EMG

Tues., . 14 @ 7 pm: Early Music Underground presents: “Spring in the Garden of Aranjuez.” Baroque violinist Ingrid Matthews and harpsichordist Henry Lebedinsky. Naked City Brewery & Taphouse, 8564 Greenwood Ave N, Seattle. www.emuseattle.com

Thurs., Mar. 17 @ 7:30 pm: Early Music Underground presents: “Erin Go Baroque.” Baroque and traditional music, old and new, from Ireland and Scotland and new songs and tunes written by the performers. Traditional social dancing will be taught. St. John’s Episcopal Church, Kirkland. www.emuseattle.com

Sat., Mar. 19 @ 1 pm: “Play-the-Recorder Month” celebration: “Music from around the World: Dances and Stories.” “Play-in” and ensembles. Third Place Commons, 17171 Bothell Way NE, Lake Forest Park.

Sat., Mar. 19 @ 7:30 pm and Sun., Mar. 20 @ 3 pm: Gallery Concerts presents: “Trio Romantique: Mozart, Beethoven, Schubert, and Schumann.” Adam LaMotte, violin; Page Smith, cello; and Tamara Friedman piano. Queen Anne Christian Church, 1316 3rd Ave W, Seattle. www.galleryconcerts.org (Continued below)

EMG (Early Music Guild, 206-325-7066) www.earlymusicguild.org TPC (Trinity Parish Church, 609 – 8th Avenue, Seattle) www.trinityseattle.org TH (Town Hall, 1119 – 8th Avenue, Seattle) www.townhallseattle.org All events are subject to change.

Concerts and Events Calendar (continued)

Sun., Mar. 20 @ 2 pm: West Coast premiere of Cuban composer Esteban Salas' “Requiem in F” (1769) as well as works from Mexico, Guatemala, and Brazil. Vocalists: Linda Tsatsanis, Brenna Wells, Joshua Haberman, Joel Bevington, and Michael Monnikendam with Vicki Boeckman and Silke Harper, recorders,

and Henry Lebedinsky, organ. United Methodist Church of Edmonds, 828 Caspers St, Edmonds. M Sun., Mar. 20 @ 4 pm: Mostly Nordic Chamber Series presents: “Dulcina Ensemble.” Aage Nielsen, Gayle A Neuman, Laura Kuhlman, and Phil Neuman play Danish music from the 12th — 20th centuries on 15 different instruments. Nordic Heritage Museum, 3014 NW 67th St, Seattle. www.nordicmuseum.org R Sun., Mar. 20 @ 4:30 pm: Early Music Guild presents: “Sine Nomine Renaissance Choir: Aus Tiefer Not— C Out of the Depths: Music for Lent and Passiontide in 16th & 17th Century Germany.” TP. EMG H Tues., Mar. 29 @ 7:30 pm: Northwest Showcase presents: “Beauty of Nature.” Music of the English and French Baroque. Courtney Kuroda and Christine Wilkinson Beckman, violin; Juliana Soltis, viola da gamba; and John Lenti, theorbo. TP. EMG

Sat., Apr. 2 @ 7:30 pm: Salish Sea Early Music Festival presents: “Fortepiano and Flute.” Henry Lebedinsky, fortepiano; and Jeffrey Cohan, late 18th and early 19th-century keyed flutes. Christ Episcopal Church, 4548 Brooklyn Ave NE, Seattle. www.salishseafestival.org

Fri., Apr. 8 @ 7:30 pm: Seattle Recorder Society Meeting. Maple Leaf Lutheran Church, Seattle.

A Sat., Apr. 9 @ 8 pm: Early Music Guild presents: “Stilo Antico: The Touches of Sweet Harmony.” This young, conductorless British ensemble returns to Seattle with a program marking the 400th anniversary P of the death of William Shakespeare. TH. EMG R Sat., Apr. 16 @ 10 am-5 pm: Moss Bay Meet. Details TBA. www.mossbayrecorders.org I Sat., Apr. 16 @ 7:30 pm and Sun., Apr. 17 @ 3 pm: Gallery Concerts presents: “Musica Bella: An Italian L Baroque Extravaganza.” Italian Baroque solo and chamber music with Vicki Boeckman, recorder; Nathan Whittaker, violoncello; Jillon Stoppels Dupree, harpsichord; and guest Canadian violinist Marc Destrubé.

Queen Anne Christian Church, 1316 3rd Ave W, Seattle. www.galleryconcerts.org – Tues., Apr. 19 @ 7 pm: Early Music Underground presents: “Dirty (Baroque) Dancing.” EMU historically- informed House Band and special guest Baroque dancers sweep you off your feet with this tribute to 17th century dance music, from Praetorius to Lully. Naked City Brewery, Seattle. www.emuseattle.com 2 Fri., Apr. 22 @ 7:30 pm: Salish Sea Early Music Festival presents: “Musical Offering.” Ingrid Matthews, 0 baroque violin; and Hans-Jürgen Schnoor (Germany), harpsichord. Christ Episcopal Church, 4548 1 Brooklyn Ave NE, Seattle. www.salishseafestival.org

6 Sun, Apr. 24 @ 7:30 pm: Early Music Guild presents: “New Baroque Orchestra.” Christine Wilkinson Beckman conducts this baroque orchestra in Purcell, Handel, Geminiani, and Adson. TP. EMG

Sat., Apr. 30 @ 8 pm: Early Music Guild presents: “Piffaro: Back Before Bach.” Piffaro, the Renaissance wind band, returns to Seattle to make Town Hall ring with its full array of shawms, sackbuts, dulcians, krumhorns, drums, and bagpipes. Hear two centuries of wind band instruments and music, including ancient chants set to Renaissance polyphony by Isaac, Finck, and Maher; hymns by Walther, Luther, and Praetorius; and virtuosic instrumental displays on popular tunes by Obrecht, Brummel, and others. TH. EMG