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Bergen County Chapter American Recorder Society Bergen County Chapter American Recorder Society September 2016 Welcome Back! Next Meeting: Wednesday Chapter News September 14, 2016 Date Coach At 8:00PM The Bergen County Chapter director and faculty member of the American Recorder of the Amherst Early Music 9/14/16 Wendy Powers Society will start the 2016 – Festival, and has taught at Meetings are held at: 2017 season on September 7, early music workshops 10/5/16 Deborah Booth Congregation Adas Emuno 2016 at our usual meeting throughout the Northeast. 11/09/16 Wendy Powers 254 Broad Avenue place: Congregation Adas Did you go to a workshop Leonia, NJ 07605 Emuno. The meeting will 12/14/16 Susan Hellauer this summer? If so, share start at 8:00PM and end your experience with the 1/11/17 Larry Lipnik around 10:00PM. There is a $10.00 suggested other members of the chap- 2/8/17 Deborah Booth donation for non-members. We have a great lineup of ter. Send in your experi- 3/8/17 Pat Neely conductors for this year, as ences for inclusion in our For Information contact: listed to the right. next newsletter. We are al- April No meeting ways looking for contribu- Reita Powell, President For our opening meeting we tions from members about 4/29/17 Workshop 201-944-2027 welcome back Wendy Pow- the recorder, concerts or any- 5/17/17 Susan Hellauer [email protected] ers as our guest conductor. thing you think might be of Wendy Powers has played interest. 6/14/17 Adas Emuno Carl Peter, Editor and taught recorder in New Concert? 201-837-1071 York City for many years, Please take note of the date [email protected] and is a musicologist special- in April for our annual work- izing in music of the late shop. We already have four Mor. Also note that there 15th and early 16th centu- great teachers lined up: Val- will be no regular chapter ries, particularly in Italy and erie Horst, Deborah Booth, meeting in April. France. She is an assistant Larry Lipnik, and Daphna Guest Conductor Composer of the Month Giovanni Bononcini to have been a member (from 1672) of Bologna's Accade- Wendy (1642 - 1678) mia filarmonica. He is best Giovanni Bononcini was an known for his chamber and Powers Italian violinist, father of church sonatas. He also com- Giovanni and Antonio Maria. posed cantatas, madrigals, He studied counterpoint and arias, and a "dramma da composition with Agostino camera," I primi voli Bendinelli and possibly also dell'aquila austriaca(Modena, with Marco Uccellini in 1677; lost). Modena. From 1671 he was www.hoasm.org court musician for Duchess 1673 he published in Bolo- Laura d'Este and violinist at gna a widely used treatise, the Modena Cathedral. In Musico prattico). He appears September 2016 Bergen County Chapter Page 2 American Recorder Society Music in the Renaissance Humanism in Music patrons were ready for new ments such as the clavichord, artistic ideas. Flemish com- In Italy during the Renais- harpsichord and organ were posers and musicians were sance, a new philosophy also written. The lute was summoned to teach and per- called "humanism" devel- widely used at that time, both form in Italian courts and the oped. The emphasis of hu- to accompany singing and invention of printing helped manism is on the quality of for instrumental music. At spread these new ideas. life on earth, much different first only instruments of the from earlier beliefs that life Instrumental Music same family were played should be viewed as a prepa- together, but eventually By the second half of the ration for death. mixed instruments were 1500s instrumental music used. By this time the influence of began to take shape. The the Church on the arts grew instrumental canzone made http://musiced.about.com weak, composers and their use of brass instruments; music for keyboard instru- Musical Terms Accidentals: Wrong notes hopes you're going to stop, equivalent of slipping on a your place and have to bluff but you don't. banana peel. Also, a tech- till you find it again. Also Agnus dei: A famous female nique adopted by string play- known as 'faking'. church composer. Chromatic Scale: An instru- ers for difficult runs. ment for weighing that indi- Transposition: An advanced Augmented fifth: A 36- cates half-pounds. Major Triad: The name of recorder technique where ounce bottle. the head of the Music De- you change from alto to so- Countertenor: A singing Bar Line: A gathering of partment. (Minor Triad: the prano fingering (or vice- waiter people, usually among which name of the wife of the head versa) in the middle of a may be found a musician or Cut time: When you're go- of the Music Department.) piece. two. ing twice as fast as every- Mean-Tone Temperament: Trotto: An early Italian form body else in the ensemble. Broken consort: When One's state of mind when of Montezuma's Revenge. somebody in the ensemble Estampie: What they put on everybody's trying to tune at Vibrato: Used by singers to has to leave and go to the letters in Quebec the same time. hide the fact that they are on restroom. Glissando: The musical Musica ficta: When you lose the wrong pitch. Cadence: When everybody Instrumental Developments During the Renaissance With the beginning of the (as opposed to the impro- sixteenth century, European vised music played by pro- music saw a number of mo- fessional instrumentalists). mentous changes. Musical The sixteenth century saw instrument technology led to the development of instru- the development of the viola mental music such as the da gamba, a fretted, bowed canzona, ricercare, fantasia, string instrument. Amateur variations, and contrapuntal European musicians of dance-inspired compositions, means eagerly took up the for both soloists and ensem- viol, as well as the lute, the bles, as a truly distinct and recorder, the harpsichord (in independent genre with its various guises, including the own idioms separate from spinet and virginal), the or- in consorts or ensembles, and the different lines. Publica- vocal forms and practical gan, and other instruments. to facilitate this often were tions by Petrucci and others dance accompaniment. The viola da gamba and re- produced in families or sets, supplied these players for the http://www.metmuseum.org corder were played together with different sizes playing first time with notated music September 2016 Bergen County Chapter Page 3 American Recorder Society Concert Announcements Recorder Society of Long Island City Recorder Fall Workshop A Gala NYC Weekend on October 22-23, 2016 at The Ella Baker School, New York City A workshop designed exclusively for recorder players! Faculty: Rachel Begley, Martin Bernstein, Deborah Booth, Eric Haas, Valerie Horst, Lawrence Lipnik, Daphna Mor, Wendy Pow- ers, Anita Randolfi, and Nina Stern Class levels range from intermediate to very advanced. Applicants should play at least two sizes of instrument (S&T or A&B), and we hope that most will play both C and F fingerings, and have at least a fair level of sight reading. Baroque style recorders preferred, except as noted in Class Descriptions. Fee: $195 tuition covers all classes both days. Work study tuition $125. All music will be provided. Persepolis Dinner extra. Fully refundable before October 10. Schedule: Saturday, October 22 4 Classes - 9:30 a.m. to 4:45 p.m. 5:30 Group Dinner at Persepolis Restaurant (optional, and not included) Sunday, October 23 3 Classes - 9:30 a.m. to 3:00 p.m. Enrollment: Sign up now! Class Descriptions will be posted by September 22, 2016. Preference will be given to those enrolling full time. Enrollment for morning-only classes or afternoon classes will be offered on a space-available basis starting October 10th. En- rollment is limited to 70, so apply early! The Ella Baker School 317 East 67th Street, New York, NY 10065, between 1st and 2nd Avenues in Manhattan. The closest subway stop is the 68 Street/ Hunter College stop on the Lexington Avenue No. 6 train. Bus lines 15 and 66 are also convenient. www.ellabakerschool.org September 2016 Bergen County Chapter Page 4 American Recorder Society The Shawm The shawm is a conical bore, that of a trumpet. Beginning attachment with a cavity in double-reed woodwind in- in the 16th century, shawms the center resembling a thim- strument made in Europe were made in several sizes, ble, surrounds the lower part from the 12th century to the from sopranino to great bass, of the reed—this provides present day. It achieved its and four and five-part music support for the lips and em- peak of popularity during the could be played by a consort bouchure.[2] medieval and Renaissance consisting entirely of Since only a short portion of periods, after which it was shawms. gradually eclipsed by the the reed protrudes past the oboe family of descendant All later shawms (excepting pirouette, the player has only instruments in classical mu- the smallest) have at least limited contact with the reed, sic. It was likely of ancient one key allowing a down- and therefore limited control origin and was imported to ward extension of the com- of dynamics. The shawm’s Europe from the Islamic East pass; the keywork is typi- conical bore and flaring bell, at some point between the cally covered by a perforated combined with the style of 9th and 12th centuries. Its wooden cover called the fon- playing dictated by the use of name is linguistically related tanelle. The bassoon-like a pirouette, gives the instru- to the Arabic zamr, the Turk- double reed, made from the ment a piercing, trumpet-like ish zūrnā, the Persian surnāy, same Arundo donax cane sound, well-suited for out-of- the Chinese suona, the Java- used for oboes and bassoons, doors performance.
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