SEATTLE RECORDER SOCIETY
Recorder Notes
December 2016 Vol. XLVIII, No. 4
www.seattle-recorder.org
From the Music Director (Vicki Boeckman) SRS Meeting Greetings, Everyone, Friday, I am still in a state of shock and disbelief December 2, 2016 at the election results as I write, as I know many @ 7:30 pm of you in the community are. Hard to believe that December is upon us, and the end of the year is nigh. The holidays are here and music will get us through—music, love, and hope. The end of any Opening Program year is a time of reflection and gratitude, and there is truly so very much to be grateful for. There will Isabella Pagel be many, many concerts to attend in December. and Jonathon Oddie The concert calendar is filled to the brim! (Castello, Linde, and Telemann) I am eagerly looking forward to our emeritus Peter Seibert leading us for this last meeting of 2016. Please read below as he tells us what he has planned for the evening. Playing Session For our opening program it gives (Peter Seibert) me great pleasure to “present” Isabella Pagel on recorder and Jonathan Oddie on Peter’s arrangements of harpsichord. Isabella started lessons with Christmas carols and hymns me at Music Center of the Northwest in 2006 at the tender age of 9. Many of you have followed the growth of the young women in All sizes of recorders “Rockin Recorders” through the years at are needed, and viols and various concerts around the community, at other soft winds/reeds SRS opening programs, and SRS Members’ are always welcome. Nights. Isabella was away at college last year and started Skype lessons with Nina Stern in New York which she continues to do, and studied with Bart Backroom Gang Spanhove at the Amherst Workshop's virtuoso program last summer. Her dream is to get a degree in music and (Miyo Aoki) pedagogy, and she will be applying to several European Music will be provided. conservatories this spring. I am so proud of her dedication and commitment!
About the Opening Program Recorder Classes (Isabella Pagel) (Laura Faber)
After growing up as a player in the Seattle recorder community, I Note: New players are am happy to say that I am auditioning to conservatories in Europe this welcome at any time. coming spring. The December opening program is in preparation for my Contact Laura to get started. upcoming auditions.
I will be playing a variety of music starting with the “Sonata Prima” Beginning Ensemble by Dario Castello where I will be accompanied by Jonathan Oddie on Tuesdays – 10 to 11:30 am harpsichord. Moving forward a few centuries, I will be playing an avant- garde Hans Martin Linde piece, “Music for a Bird.” Lastly, Jonathan will join Lower Intermediate Ensemble Tuesdays – 7 to 9 pm me again to play three movements of a fabulous “Methodical Sonata in F major” by Georg Phillip Telemann. If time allows at the end, there may be a quick encore with a special friend of mine! I am looking forward to the next Intermediate Ensemble chapter of my musical journey and want to thank the Seattle recorder Thurs. – 10:30 am to 12:30 pm community for all the support you have given me over the years! Bass Ensemble Saturdays – 10 am to 12 pm About the Playing Session * * * (Peter Seibert, Music Director Emeritus) Class Descriptions
Most of the music for the December Beginning Ensemble (SATB) playing session is based on Christmas carols or Simple and fun music chosen for hymns. Bach made chorale settings of a number players who are new to of carols such as “In dulci jubilo” and went on recorders, adding a new size to create elaborate chorale-preludes on those instrument, or needing a little melodies. We will follow the evolving more support. treatment of some of these melodies in
arrangements I have made for recorder Intermediate Ensemble ensemble. Please bring SATB and also great (SATBGB) bass and contrabass for these works. Medieval to modern music for players comfortable with In 1999, I created settings of five medieval carols for SATB recorders common fingerings and called “Suite on Early Carol Tunes.” This turned out to have been the most rhythms who are interested in popular work ever published by PRB Productions. The last time we played developing their technique this suite at the SRS was a decade ago, so I thought we should dust off the further. Skills in progress music and have another go at it. (Since then, I have published another set of include playing both F and C medieval carol settings as well as a volume of American folk carols.) This instruments, reading alto up, work sounds best with just SATB. counting halves, and
reading from parts. If there is time, we will dip into the American pop repertory for the
season. For this, big basses will be needed. I look forward to being with you Bass Ensemble (BGB) once again. Enjoy the sound of low instruments? This energetic ensemble plays music arranged or composed for basses and explores bass technique.
* * *
Newsletter Deadline for January Issue People who are interested
should contact Laura by email at Monday, December 12th [email protected] or by calling (206) 619-0671.
Save the Dates: Port Townsend Workshop!
Save the dates for the Port Townsend Early Music Workshop— a week-long workshop in the Pacific Northwest with a stellar faculty! Refreshments
When: July 9-15, 2017 (December)
Where: The beautiful campus of University of Puget Sound (UPS) in Tacoma Baked Goods Kathleen Arends Recorder/Flute/Early Winds: Cathy Lacefield Adam Gilbert, Alison Melville, Clea Galhano Miyo Aoki, Nina Stern, Paul Leenhouts Fruits Peter Seibert, Rotem Gilbert, Vicki Boeckman Naomi Shiff
Voices/Viols/Mixed Consorts: Veggies Jack Ashworth, Joanna Blendulf Katie Sprugel Wendy Gillespie, Ellen Seibert At our November meeting, a blue ceramic bowl containing Halloween candy corn was left Seattle Recorder Soirée — Ongoing behind. I will bring it to the December meeting, or the owner can contact me to pick it up First Tuesdays of Every Month earlier. 7:30 pm to 9:00 pm Couth Buzzard Books & Café Buono Molly Warner (206-523-5192 8310 Greenwood Ave N, Seattle, WA 98103 or ([email protected]) (206) 436-2960, www.buonobuzzard.com FREE !!! Donations and purchases appreciated. Thank you!
• Contact: Chris Corfman at [email protected] or (206) 227-5619. 2016-2017 SRS Meetings
Meetings are usually (but not Save the Date: always) held on the first Friday of each month, September to Play-the-Recorder Month Celebration May, at 7:30 p.m., Maple Leaf Lutheran Church, 10005 - 32nd What: “Play-the-Recorder Month” Concert & Celebration NE, Seattle. Meetings include a short performance or lecture Date and Time: Sunday, March 5, 2017 from 3 pm to 4 pm of interest to recorder and viol players, ensemble playing Contact: Nancy Gorbman (206-852-4762 or [email protected]) for all levels of recorder players, and a beginning Event Description: Join us for a lively concert of various recorder recorder ensemble. ensembles—including music of the Renaissance, Baroque, and 20-21st A $5.00 donation is requested centuries. A “Play-In” of a new composition entitled “Waltz” composed by for non-members. James Beaudoir, written especially for the American Recorder Society “Play- the-Recorder Day” will begin the program (for intermediate level recorder September 16, 2016 October 7, 2016 players and up)! Fun for all ages. An activities circle for young children near November 4, 2016 the stage will have crafts, puzzles, and a chance to explore instruments of December 2, 2016 varying sizes. Free drawing for plastic recorders at the end of the concert! January 6, 2017
February 10, 2017 Instrumentation: Recorders, harpsichord, March 3, 2017 percussion (drum, tambourine), guitar. April 7, 2017 May 12, 2017
The Recorder Orchestra of Puget Sound is proud to present their Winter Concert
Sunday, December 11, at 2:00 pm
in the Sanctuary of Maple Leaf Lutheran Church 10005 32nd Ave NE
with special guest Peggy Monroe, percussion
Charles Coldwell and Vicki Boeckman have chosen a program of music with percussion, and the ROPS members have been working diligently toward this concert.
If you have never heard a recorder orchestra, you are in for a treat. The sizes of instruments range from a 6-inch sopranino to a 6-foot contra bass, and the sound is sonorous, glorious, and rich. Also featured on this concert is Tom Faber on the didgeridoo. Not to be missed!
We will play The River - a Native American song arranged by Sylvia Rosin, The Earle of Oxford's March by William Byrd, Five Contradances by Mozart, Suite from Plusieurs Marches et batteries de Tambour by Lully/Philidor, March from the Nutcracker Suite by Tchaikovsky, and Suite from Romeo and Juliet by Brian Monroe.
Come enjoy the beautiful music and stay for the reception afterward. 1
Meeting Notes: November 4, 2016 (Kathleen Arends; photos by Bill Stickney) SRS Board Members We welcomed one newcomer and one experienced player who (2016/2017) had not attended in years (member Michael Collins’ mother, Jean Collins, who is now a renewed member). Molly Warner also invited members who Music Director: might be having trouble attending (can't drive at night, etc.) to let a board Vicki Boeckman (206-985-9916) member know, and we will try to arrange transportation. [email protected]
Music Director Emeritus: Opening Program Peter Seibert (206-329-2774) [email protected] David Ohannesian spoke on ways to approach tone production. After Officers:
drawing us all in by describing our President: Mike Woolf Carnegie Hall solo debuts, he gave us (206-300-6623) [email protected] some things to consider in order to get the best sound out of an instrument, President-Elect: Molly Warner (206-523-5192) especially on those high notes that can [email protected] induce worry. But first, if, say, your alto’s high A sounds stuffy, do consider the Past President: Hanan Bell possibility that your recorder may need (206-695-2276) [email protected]
some reworking; have another player try your instrument to find out Secretary: Kathleen Arends whether the difficulty is in the recorder, rather than in your playing. (425-649-9869) [email protected]
David's suggestions emphasized free, relaxed Treasurer: Richard Ginnis (206-633-1969) blowing and being aware of how it feels to play those [email protected] high notes. He had a volunteer (Mike Woolf) play low A, and then high A, on an alto recorder. He then had Mike do the same blowing while he, David, fingered the * * * *
recorder, but he fingered low A both times; the high A came out when Mike meant for it to. Mike knows how Membership: Betty Swift it feels to play high A, and that's what sounded, despite (206-323-3879) [email protected] the fingering. Newsletter: Karen Berliner (206-550-3384) [email protected] David noted that what you're playing is really a column of air; the wood just keeps the air in the right shape. He showed several ways of Refreshments: Molly Warner manipulating that column of air while playing long tones and listening for (206-523-5192) the best sound. Learn to enjoy playing long tones, he advised. [email protected]
Webmaster: Charles Coldwell Relaxed, easy blowing. High notes are not mountains to be (206-328-8238) conquered. Try the unrestrained blowing that kids beginning recorder [email protected] use naturally. You can even let your cheeks puff out—that means they're Members-At-Large: relaxed. Experiencing this free blowing helps relaxation and helps you know what happens if you put more air into the recorder, so that you can find the Ellis Hillinger best pressure for each note without worrying about blowing too hard. (206-547-0718) [email protected] Playing loudly and “ugly” for a while, and then coming down, feels like taking Carolyn Wallace (206-782-6898) off hiking boots. [email protected]
It's hard to relax your playing apparatus when any part is tense. “Recorder Notes” is published monthly, Learn where your body stores tension—shoulders, arms, hands, mouth, September through May, for its members by the Seattle Recorder Society. curled toes—so that you can find a way to relax it. Tension is just what you 4554 - 4th Ave NE, Seattle, WA 98105. don't want for those high notes. $40 Annual Membership Dues. www.seattle-recorder.org Thumbing. David talked about the slide-down method of using the octave hole, rather than the thumbnail-in-the-hole way. He played a high (continued below) 2
Meeting Notes: (continued) For Sale!
note, and then moved his thumb around to cover GILL alto recorder in maple. more or less of the hole. We listened to the This recorder is in good playing overtones above the note, and David noted that condition. It was handcrafted in the note came best in tune with a smaller Israel and maintains a beautiful opening; the sound is “rushier” when the hole sound. $50 obo. is more open.
Attacks. For most high notes, David ROESSLER sopranino suggests a soft “D” sound. He noted that hitting recorder in maple. This high C# usually requires a soft attack, not a “T.” recorder is also in good playing Sometimes people hit a note too hard because condition. $35 obo. they're worried it won't come out. To play it well, learn what that feels like (see exercises below.)
Angle of the instrument. David began by holding the instrument Contact: Courtney Westcott close to his chest, so that it pointed downward. He played a note, and its [email protected] sound became clearer as he raised the recorder away from his body, so or (206) 729-1903. that the air went more directly into the windway. But bringing it up can worsen any tension in the shoulders, so he noted that you can lower your head instead.
Raise the soft palate. This helps for singing a high note, and occurs in yawning.
Imagery for high notes. When you find the best sound for a note, pay careful attention to how you feel as you play it. Recalling and imagining those feelings can both set you up to sound the note beautifully, and act as practice. (Your brain can't tell the difference between imagining the positions and actually producing them.)
Some exercises. With the thumb hole left open, put fingers down consecutively from the top while blowing. Slur from one note to the next. David produced even a low C (on an alto) without thumb, by blowing softly enough.
Using no thumb, play low A by using low pressure. Gradually increase the pressure; feel it build inside your mouth until its release jumps the octave. Try holding the pressure at the point just before the jump, to learn how it feels when the jump is about to happen.
Sit with your eyes closed and imagine just how you feel when you're playing high D on your alto. Then do it. If it doesn't come out clearly, pay attention to how it feels to produce a good, clear note, and then adjust your mental picture. You should know how it feels to play it well.
Playing Session
Charles “Coop” Cooper of Flûtes en Bois generously sent his files for Thomas Tallis’ “The Town Lay Hushed” to Vicki so that Seattle Recorder Society members could play it. As Vicki had anticipated, the piece was well suited to recorders and sounded quite beautiful. Next SRS Board Meeting
rd The song is built of distinct phrases. Coop’s edition has no bar lines, Tuesday, January 3 and almost all movement is in unison, so Vicki conducted this Christmas text at 7:30 pm (continued below) 3
Meeting Notes: (continued)
word by word. At the beginning the music is mostly in E minor, with many pure, open fifths. Later more thirds appear, and the piece ends with an E major chord. Vicki spoke briefly about the fingering for G# on a C instrument (or C# on an F instrument): yes, in general the sixth hole/finger should be half-hole in order to bring the pitch into tune.
Next Vicki brought out William Byrd's five-part “Lullaby my sweet little baby,” another Christmas text, from the 1588 collection Psalmes, Sonets and Songs. She distributed parts so as to create some doublings at the octave. As a listener, I couldn't predict which chords would sound major and which minor, though where the text was “sweet” they did tend to major. Gestures and emphases were according to the text. The second section was considerably more dissonant as the text referred to Herod’s Slaughter of the Innocents. (“Oh woeful, heavy day, when wretches have their will,” commented the text, and I could not help but notice that this was just four days before the election.) The sweet lullaby returned for the end.
Our last piece was Frances Blaker’s “Upwelling,” which phenomenon involves the replacement of the ocean’s surface water with cooler, more nutrient-rich water from below. (This was the version for “Cléa and her spleen.”) The form is a favorite of Frances’, a chaconne. Vicki encouraged thinking of the beginning as if it had no bar lines, and playing very smoothly. After that beginning, numerous faster-moving melodies began interweaving. Some of them were syncopated, which I found surprising from Frances, but all the melodies depicted movement. Vicki likened some of them to the alluring songs of sea sirens. Most were very legato, with just a few little spots sparkling in the sun. The last chord was not the usual restful tonic, but was a lift instead.
Our thanks to Vicki for finding us this music and helping us to enjoy playing it.
Meeting Notes from the Backroom Gang: November 4, 2016 (Christy Johnson, Backroom Reporter)
Six players led by Laura Faber met in the back room at the November meeting. First, encouraged by David Ohannesian's presentation on tone production, we spent a few minutes on one of his ideas. Leaving the thumb open, we each tried going down the scale and felt how the breath needs to be controlled differently in various ranges. It is a worthy experiment.
The first piece we played was the gorgeous “Arise thou North wind” by Orlando Gibbons. When we encountered a hemiola, Laura demonstrated the Laura Faber Hemiola Walk, a way to feel the rhythm through moving your body. We tried it, too, and it had us all laughing!
Our subsequent pieces were “Now, o now I needs must part” by John Dowland, “El Condor Pasa,” written by Daniel Alomia Robles and based on an Andean folk song, and Thomas Morley's “Come, Lovers, Follow Me.”
The Backroom Gang is a group playing session with a smaller group size and more individual attention than in the main room. If this appeals to you, come join us at the next meeting, and welcome!
Miyo Aoki will lead the Backroom Gang at the December meeting. 1
Concerts and Events Calendar
Fri., Dec. 2 @ 7:30: Seattle Recorder Society Meeting. Maple Leaf Lutheran Church.
Sat., Dec. 3 @ 8 pm: Medieval Women’s Choir presents: “Winter Feasts.” St. James Cathedral, 804 9th Ave, Seattle. www.medievalwomenschoir.org
Sat., Dec. 3 @ 7:30 and Sun., Dec. 4 @ 3 pm: Gallery Concerts presents: “Bach and Beethoven.” Nathan Whittaker, violoncello; Tamara Friedman, Baroque Lautenwerck and copy of 1814 Johann Fritz Viennese D fortepiano. Queen Anne Christian Church, 1316 3rd Ave W, Seattle. www.galleryconcerts.org
E Sun., Dec. 4 @ 3 pm: Early Music Underground presents: “In Mary’s Arms.” Rarely-heard motets and cantatas for voice, strings, and organ by 17th century women composers. Northwest Cellars, C 11909 124th Ave NE, Kirkland. www.emuseattle.com E Fri., Dec. 9 @ 7:30 pm: Pacific Musicworks presents: “¡navidad! – Christmas Music from New and Old M Spain.” Experience a rich tapestry of works from Mexico, Guatemala, Brazil, Bolivia, and Spain in this unique holiday program. Edmonds Methodist Church, 828 Caspers St, Edmonds. (See other dates and B locations below.) www.pacificmusicworks.org E Sat., Dec. 10 @ 2 pm: Moss Bay Recorder Society Meeting. Kirkland Library, 308 Kirkland Ave, Kirkland. R www.mossbayrecorders.org
Sat., Dec. 10 @ 7:30 pm: Pacific Musicworks presents: “¡navidad! – Christmas Music from New and Old Spain.” Experience a rich tapestry of works from Mexico, Guatemala, Brazil, Bolivia, and Spain in this unique holiday program. Emmanuel Episcopal Church, 4400 86th Ave SE, Mercer Island. – www.pacificmusicworks.org
Sun., Dec. 11 @ 2 pm: Pacific Musicworks presents: “¡navidad! – Christmas Music from New and Old Spain.” Experience a rich tapestry of works from Mexico, Guatemala, Brazil, Bolivia, and Spain in this unique holiday program. Nordstrom Recital Hall, Benaroya Hall, Seattle. www.pacificmusicworks.org 2 Sun., Dec. 11 @ 2 pm: Recorder Orchestra of Puget Sound (ROPS) presents their fall concert. Music of 0 Byrd, Tchaikovsky, Mozart, Brian Monroe, and others. Guest artists Peggy Monroe on percussion and 1 Tom Faber on didgeridoo. Main sanctuary of Maple Leaf Lutheran Church. www.seattle-recorder.org
6 Wed., Dec. 14 @ 7:30 pm: Early Music Guild presents: “J.S. Bach’s Christmas Magnificat.” Alexander Weimann leads the Northwest Baroque Masterworks ensemble of five internationally renowned soloists, a full baroque orchestra, 3 trumpets, and timpani in a performance of the original version of J.S. Bach’s Magnificat. TH. EMG
Fri., Dec. 16 @ 7:30 pm: Early Music Guild presents: “J.S. Bach’s Christmas Magnificat.” Alexander Weimann leads the Northwest Baroque Masterworks ensemble in a performance of the original version of J.S. Bach’s Magnificat. Bastyr University Chapel, 14500 Juanita Dr NE, Kenmore. EMG
Fri., Dec. 16 @ 7:30 pm: Cappella Romana presents: “A Byzantine Christmas.” Boston-based Psaltikon performs Byzantine chant and traditional Greek carols. St. Demetrios Greek Orthodox Church, 2100 Boyer Ave E, Seattle. www.cappellaromana.org
Fri. – Sun., Dec. 16 – 18: Seattle Symphony presents: “Handel Messiah.” Various times. See website for details. Benaroya Hall, Seattle. www.seattlesymphony.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. 2
Concerts and Events Calendar (continued)
Wed. – Fri., Dec. 28 – 30: Seattle Symphony presents: “Vivaldi” The Four Seasons.” Various times. See D website for details. Benaroya Hall, Seattle. www.seattlesymphony.org
E Thurs., Dec. 29 @ 7 pm: Byron Schenkman and Friends present: “Bach and Corelli.” Ingrid Matthews, violin; Byron Schenkman, harpsichord. Nordstrom Recital Hall, Benaroya Hall, Seattle. C www.byronschenkman.com
Tues., Jan. 10 @ 7 pm: sound|counterpoint presents: “The Harmonious Society of Tickle-Fiddle- Gentlemen.” Christine Wilkinson Beckman (violin/viola) joins sound|counterpoint to present a choice J sampling of pieces from libraries of Thomas Britton and Gottfried Finger, featuring music by Locke, Purcell, Matteis, and others. Folio: The Seattle Athenaeum Library, 300-348 Marion St, Seattle. A www.soundcounterpoint.org N Sat., Jan. 14 @ 2 pm: Moss Bay Recorder Society Meeting. Kirkland Library, 308 Kirkland Ave, Kirkland. U www.mossbayrecorders.org
A Sat., Jan. 14 @ 7:30 pm: Musica Pacifica presents: “Alla Napolitana.” Hear rarely performed chamber R concertos for recorder, two violins, and continuo by the Italian masters Alessandro Scarlatti, Nicola Fiorenza, and Francesco Mancini. A trio sonata by Nicola Matteis, a virtuosic harpsichord sonata by Y Domenico Scarlatti, and an unusual duo for two violins without bass by Francesco Barbella are also featured. Nordstrom Recital Hall, Benaroya Hall, Seattle. EMG
- Sun., Jan. 15 @ 3 pm: Early Music Underground presents: “The Extraordinary Ignatius Sancho.” Composer, author, playwright, abolitionist, and businessman, Ignatius Sancho was born on a slave ship in 1729 and became the first black Briton to vote in a parliamentary election. Join acclaimed tenor Zach Finkelstein and the EMU House Band for a celebration of Sancho's extraordinary life through his music,
writings, and the music of his London contemporaries. Northwest Cellars, 11909 124th Ave NE, Kirkland. 2 www.emuseattle.com
0 Tues., Jan. 17 @ 7 pm: Early Music Underground presents: “The Extraordinary Ignatius Sancho.” See above for details. Naked City Brewery & Taphouse, 8564 Greenwood Ave N, Seattle. 1 www.emuseattle.com 7 Sat., Jan. 21 @ 7:30 pm and Sun., Jan. 22 @ 3 pm: Gallery Concerts presents: “The Three Gambists.” In memory of Margriet Tindemans. Guest Artists Joanna Blendulf, John Dornenburg, and Elisabeth Reed, violas da gamba; and Jillon Stoppels Dupree, harpsichord. Queen Anne Christian Church, 1316 3rd Ave W,
Seattle. www.galleryconcerts.org
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.
Upcoming Workshops
Sat., April 8, 2017 from 10 am to 2 pm: SRS will host a half-day recorder event with Matthias Maute. Location TBD.
May 5-8, 2017: Winds and Waves Recorder Workshop. (Faculty concert on May 5, classes May 6-8.) Otis, Oregon. Registration begins January 17th. www.sitkacenter.org
July 9-15, 2017: Port Townsend Early Music Workshop. Tacoma, Washington. Registration begins in 2017. www.seattle-recorder.org