M a R C H 2 0

March 2011 Published by the American Recorder Society, Vol. LII, No. 2 • www.americanrecorder.org

Magnamusic Distributors, Inc. PO BOX 338, 74 AMENIA UNION RD, SHARON, CT 06069-0338 TEL: (860) 364-5431 FAX: (860) 364-5168 Email: [email protected] We have one of the largest collections of early and contemporary sheet music available in the USA and Canada. We also distribute recorders and accessories from the finest makers in the world. Orders placed by 2pm E.S.T. are usually processed and shipped the same day. We always do our best to offer prompt, friendly and personalized service. NEW ISSUES 1AP00195 ATTB 6.75 1AP00196 SATB 6.95 Turk, Ahlert: I Don't Know Why I Love You Like I Do, Dryer, Rose: Me and My Shadow (I Just Do) PRM0375 SSAATB 16.00 PRM0376 NSSATB 18.75 Anon: Trotto Ortiz: Recercada An Italian dance melody for mixed ability recorder ensemble. Arranged for mixed ability recorder ensemble. HIGHLIGHTS Moeck MK124/1240 Maple School model, 2 piece, single holes, Soprano $78.50 $33.76 Get one while supplies last! BEST SELLERS CM01023 1 to 6 S/A/T 4.95 CM01002 SS 4.00 Renaissance Debut (12 dances) The Duet Recorder, Book 1 (10 pieces) Twelve skillfully arranged Renaissance dances and pieces for 1 to 6 Ten distinctive and delightfully easy soprano duets with optional (S/A/T) recorders with optional keyboard. percussion and guitar. Use our web code ARSM2LA and get a 10% discount on your order! On the web at http://www.magnamusic.com or toll freee at 888-665-2721 NEW!

Enjoy the recorder Denner great bass Mollenhauer & Friedrich von Huene

“The Canta great bass is very intuitive to play, making it ideal for use in recorder “The new Mollenhauer Denner orchestras and can be great bass is captivating with recommended .” its round, solid sound, stable in every register. Its key mechanism Dietrich Schnabel is comfortable and especially (conductor of recor- well designed for small hands. An der orchestras) instrument highly recommended for both ensemble and orchestral playing.”

Daniel Koschitzky Canta knick great bass (member of the ensemble Spark) Mollenhauer & Friedrich von Huene

G# and Eb keys enable

larger finger holes

and thus an especially

stable sound.

The recorder case with many extras With adjustable support spike … saves an incredible amount of space with the two-part middle joint … place for music

… integrated recorder stand Order-No. 2646K Order-No. 5606 www.mollenhauer.com Editor’s Note ______Volume LII, Number 2 March 2011 ith spring just around the corner Features W(for most of us), it’s time to start thinking ahead to summer—and summer “That beautiful season the Summer” ...... 7 for some recorder players means the The annual look at summer workshops, workshop season. Our annual roundup plus a few scheduled earlier and later of workshops starts on page 7. 4 Back after a break from writing for Departments AR is Frances Blaker, who has ideas to help you practice more effectively as Advertiser Index and Classified Rates ...... 32 you prepare for any upcoming workshop (page 18). Book Reviews ...... 17 Feedback tells us that members love Scott Paterson reviews a book that may help to get music—either in or with AR. Com- musicians in pain poser Tim Broege, in his regular column, has included a piece of his own, and some Chapters & Consorts ...... 31 6 hints on how to get started playing jazz Compact Disc Reviews ...... 23 on your recorder (page 21). AR’s volun- teer team of recorder players who write Latest efforts by two Bay Area groups: Music Reviews also ran across possibilities The Lost Mode; Musica Pacifica for more music in the jazz style (page 26). By the time you receive this magazine, Music Reviews ...... 26 it will be Play-the-Recorder Month. This On the Cutting Edge ...... 21 ARS Newsletter reminds you of deadlines: Tim Broege likes a YouTube jazz video to enter contests, encourage friends to join 7 and let us know how you participated. We and has some tips on playing jazz yourself look forward to hearing from you! Opening Measures ...... 18 Gail Nickless Your advice from Frances Blaker: practice!

President’s Message ...... 3 Lisette Kielson introduces two new online video series

Tidings ...... 4 www.facebook.com/pages/ In Memoriam: Eugene Reichenthal, Madeline Mix 31 American-Recorder-Society/ Hunter; Erik Bosgraaf and Amy Pikler honored; 118849625628 Recorders donated to students in Perú

GAIL NICKLESS, EDITOR ON THE COVER: “Terton Baroque CONTRIBUTING EDITORS TOM BICKLEY, COMPACT DISC REVIEWS • FRANCES BLAKER, BEGINNERS & TECHNIQUE soprano recorder by TIMOTHY BROEGE, 20TH/21ST-CENTURY PERFORMANCE • CAROLYN PESKIN, Q & A Von Huene after an SUE GROSKREUTZ, BOOK & MUSIC REVIEWS • MARY HALVERSON WALDO, EDUCATION early 18th-century original in The Hague” ADVISORY BOARD MARTHA BIXLER • VALERIE HORST • DAVID LASOCKI • BOB MARVIN ©2011 William THOMAS PRESCOTT • CATHERINE TUROCY• KENNETH WOLLITZ Stickney Photography

WWW.AMERICANRECORDER.ORG GLENNA LANG, COPYRIGHT©2011 AMERICAN RECORDER SOCIETY, INC. DESIGN CONSULTANT ARS Chapters

ALABAMA HAWAII Long Island: Barbara Zotz (631-421-0039) Alabama Recorder Assoc.: Jennifer Hawaii: Irene Sakimoto (808-734-5909) New York City: Gene Murrow Garthwaite (256-586-9003) Big Island: Roger Baldwin (646-342-8145) Birmingham: (808-935-2306) Rochester: Liz Seely (585-473-1463) Janice Williams (205-870-7443) West Hawaii Recorders: Rockland: Jacqueline Mirando Marilyn Bernhardt (808-882-7251) AMERICAN ARIZONA (845-624-2150) Desert Pipes (Phoenix): IDAHO Westchester: RECORDER George Gunnels (480-706-6271) Les Bois (Boise):Kim Wardwell Erica Babad (914-769-5236) Arizona Central Highlands (360-202-3427) NORTH CAROLINA (Prescott): Georgeanne Hanna SOCIETY ILLINOIS Carolina Mountains: inc. (928-775-5856) Carol Markey (828-884-4304) Tucson: Scott Mason (520-721-0846) Chicago: Dennis Sherman (773-764-1920) Triangle: Mary McKinney ARKANSAS (919-489-2292) Honorary President Chicago–West Suburban: Aeolus Konsort: David Johnson (630-740-9220) OHIO Erich Katz (1900-1973) Don Wold (501-666-2787) LOUISIANA Greater Cleveland: Honorary Vice President Bella Vista: Barbara McCoy Edith Yerger (440-826-0716) (479-855-6477) Baton Rouge: Winifred Jaeger Cody Sibley (225-505-0633) Toledo: Marilyn Perlmutter CALIFORNIA New Orleans: (419-531-6259) Statement of Purpose Central Coast: Margery Seid Victoria Blanchard (504-861-4289) OREGON (805-474-8538) & David Kemp (504-897-6162) Eugene: Lynne Coates The mission of the American Recorder Society is East Bay: Susan Jaffe MARYLAND (541-345-5235) to promote the recorder and its music by (510-482-4993) Oregon Coast: Corlu Collier Inland Riverside: Greg Taber Northern Maryland: developing resources and standards to help Richard Spittel (410-242-3395) (541-265-5910) (951-683-8744) Portland: Zoë Tokar (971-325-1060) people of all ages and ability levels to play and Monterey Bay: LouAnn Hofman MASSACHUSETTS PENNSYLVANIA study the recorder, presenting the instrument to (831-439-0809) Boston: Justin Godoy North Coast: Kathleen new constituencies, encouraging increased career (781-507-4891) Bloomsburg Early Music Ens.: Kinkela-Love (707-822-8835) Recorders/Early Music Susan Brook (570-784-8363) opportunities for professional recorder Orange County: Metro-West Boston: Sheila Erie: Linda McWilliams performers and teachers, and enabling and Jo Redmon (714-527-5070) Beardslee (978-264-0584) (814-868-3059) Redding: Kay Hettich Philadelphia: supporting recorder playing as a shared social Worcester Hills: Doug Bittner (530-241-8107) (508-852-6877) Sarah West (215-984-8359) experience. Besides this journal, ARS publishes Sacramento: Mark Schiffer Pittsburgh: Helen Thornton MICHIGAN a newsletter, a personal study program, a (916-685-7684) (412-486-0482) San Diego County: Harvey Ann Arbor: David Griffiths RHODE ISLAND directory, and special musical editions. Society Winokur (619-334-1993) (734-213-3172) members gather and play together at chapter San Francisco: Greta Hryciw Kalamazoo: David W. Fischer Rhode Island: (415-377-4444) David Bojar (401-944-3395) meetings, weekend and summer workshops, and (269-375-0457) Sonoma County: Metropolitan Detroit: Claudia TENNESSEE many ARS-sponsored events throughout Dale Celidore (707-874-9524) Novitzsky (248-548-5668) South Bay: Greater Knoxville: the year. In 2009, the Society enters its Northwinds Recorder Society: Ann Stierli (865-637-6179) Liz Brownell (408-358-0878) Janet Smith (231-347-1056) eighth decade of service to its constituents. Southern California: Nashville Parks: Carol Vander Wal Western Michigan: Jocelyn Shaw (615-226-2952) Jerry Cotts (310-453-6004) & ( 231-744-8248) Juanita Davis (310-390-2378) Southern Middle Tennessee Board of Directors MINNESOTA (Tullahoma): Vicki Collinsworth Lisette Kielson, President COLORADO Twin Cities: Sue Silber (651-697-7080) (931-607-9072) Boulder: Mike Emptage TEXAS Laura Sanborn–Kuhlman, (970-667-3929) MISSOURI Vice President; Fundraising Chair Colorado Springs: Janet Howbert St. Louis: Austin: Frank Shirley (512-832-5600) (719-632-6465) Norm Stoecker (636-230-9337) Dallas: Jack Waller (972-669-1209) Susan Richter, Secretary Rio Grande: Sylvia Burke Denver: Dick Munz (303-286-7909) NEVADA Cathy Emptage, Treasurer, Finance Chair Fort Collins: Sherry Pomering (575-522-1742) Sierra Early Music Society: Matt Ross, Asst. Secretary; Governance Chair (970-484-0305) UTAH Kay Judson (775-322-3990) Bonnie Kelly, Asst. Treasurer Early Music Society of Western CO: Utah (Salt Lake): Mary Johnson Bev Jackson (970-257-1692) NEW HAMPSHIRE Mark Davenport, Program Chair (801-272-9015) CONNECTICUT Monadnock: Jeanne Lynch, Marketing/ VERMONT Connecticut: Elise Jaeger Kristine Schramel (413-648-9916) Public Relations Chair & Lynn Herzog (802-254-1223) Monadnock: (203-792-5606) Kristine Schramel (413-648-9916) Richard Spittel, Membership Chair Eastern Connecticut: NEW JERSEY & Lynn Herzog (802-254-1223) Joyce Goldberg (860-442-8490) Bergen County: Nancy Buss VIRGINIA DISTRICT OF COLUMBIA Mary Comins (201-489-5695) Mark Dawson & Reita Powell (201-944-2027) Northern Virginia: Washington: Art Jacobson Edward Friedler (703-425-1324) Greg Higby (301-983-1310) Highland Park: Donna Messer Mary McCutcheon (732-828-7421) Shenandoah (Charlottesville): DELAWARE Montclair Early Music: Gary Porter (434-284-2995) Brandywine: Roger Matsumoto Julianne Pape (845-943-0610) Tidewater (Williamsburg): Staff (302-731-1430) Navesink: Lori Goldschmidt Vicki H. Hall (757-565-2773) (732-922-2750) Kathy Sherrick, Administrative Director FLORIDA WASHINGTON Princeton: Orum Stringer Moss Bay: Janice Johnson 1129 Ruth Drive Ft. Myers: Sue Groskreutz (215-295-7149) (239-267-1752) (425-814-5923) St. Louis, MO 63122-1019 U.S. NEW MEXICO Seattle: Jill Shupe (206-364-7509) 800-491-9588 toll free Gainesville: Peter Bushnell (352-376-4390) Albuquerque: Bryan Bingham WISCONSIN 314-966-4082 phone Largo/St. Petersburg: (505-299-0052) Milwaukee: Carole Goodfellow 314-966-4649 fax Elizabeth Snedeker (727-596-7813) Las Vegas (Flat & Baroque in Las (262-763-8992) Miami: Phyllis Hoar (305-385-5386) Vegas): Tom Curtis (505-454-4232) [email protected] Southern Wisconsin: Palm Beach: Gail Hershkowitz Rio Grande: Sylvia Burke Greg Higby (608-256-0065) www.AmericanRecorder.org (561-732-5985) (575-522-1742) Sarasota: Nancy Paxcia-Bibbins Santa Fe: Gus Winter CANADA (941-536-0621) (505-603-8034) Edmonton: Nils Hahn (780-443-3334) In accordance with the Internal Revenue Service GEORGIA NEW YORK Montréal: Christine Fournier Taxpayer Bill of Rights 2, passed by the United States (450-348-0958) Congress in 1996, the American Recorder Society makes Atlanta: Buffalo: Mark Jay (716-649-1127) Toronto: Sharon Geens (416-699-0517) Hudson Mohawk: freely available through its office financial and Mickey Gillmor (404-872-0166) Lee Danielson (518-785-4065) Please contact the ARS office incorporation documents complying with that regulation. to update chapter listings. 6 March 2011 American Recorder President’s Message ______Greetings from Lisette Kielson, ARS President [email protected]

ver a year ago Knowlera Media creating and developing the topics, O(KM), knowlera.com, con- writing content for each segment, and The result: two video tacted the ARS and asked if we would appearing in the videos—teaching series, “How to Play like to collaborate with them on their every concept. the Recorder” and online “how to” video series. They The result: two video series, “How to Play Simple were interested in updating their “How to Play the Recorder” and Songs on the Recorder.” series on “How to Play the Recorder.” “How to Play Simple Songs on the We were thrilled with the idea! Recorder,” with each series consisting a much needed, professional and The Board has wanted to incorpo- of several segments. educationally sound, online tool; rate educational videos on our web site The video segments are very spreading the name of the ARS; for a long time. ARS members and short (as contractually prescribed). reaching a wider constituency and non-members alike have expressed We see the videos as representing unknown audience; and attracting often, at town hall meetings across just an introduction, a taste of what new members. the U.S. and Canada, their desires is possible—one concrete way for If these videos are not already for this benefit. KM’s proposal someone to get interested and started up on the web site when you read delivered that extra motivation and on the recorder—and hopefully this, they will be soon! Look for impetus to get the project off the yielding so much more: providing them at AmericanRecorder.org. ground. (We see this as a jump start to including additional educational videos on our own web site.) Strings & Early Winds The deal maker was KM’s capa- R Küng Moeck Mollenhauer Paetzold Yamaha bility of providing large scale exposure Ehlert Wenner Recorders / Baroque flutes and visibility for the ARS by means Lu-Mi (Wendy) Ogle Viols / Baroque Strings / Vielles of their broad distribution, including E Guntram Wolf Early Winds / Roland Classic Keyboards “television programming, broadcast news, the popular destination site C Competitive Prices / Sent on Approval MonkeySee.com, and a syndication Personalized Service & Advice network of hundreds of popular sites across the web.” The opportunity to O work with a professional organization, with professional videographer, editor R and producer, was also attractive and helped to seal the deal. D Of course, this did not come free of charge! With your contributions to the 2010 Spring Fund Appeal, you E made this happen—and I would like to thank you! I also would like to R thank specifically Vicki Boeckman, Lazar’s Early Music our ARS representative for this pro- (866) 511-2981 [email protected] ject. She worked tirelessly on the S www.LazarsEarlyMusic.com videos, devoting many hours to 425 N. Whisman Rd., #200, Mtn. View, CA 94043

www.AmericanRecorder.org March 2011 7 Tidings ______Gene Reichenthal dies, ______In Memoriam: Eugene Reichenthal, 1918-2011 By Nancy M. Tooney, Brooklyn, NY writing activities, which also included publishing recorder Gene Reichenthal Eugene Herbert Reichenthal, best arrangements. at a 2009 luncheon known for his distinguished career In 1969 he was a cofounder honoring his long as a music educator and as organizer with Gerald Burakoff of the association with LIRF of the Long Island (NY) recorder Long Island Recorder Festival workshops for both young students (LIRF) One-Day spring event. and adults, passed away on January 24 After a few years, he became the at age 92. sole organizer for this event for A graduate of Clark University students and adults, until March and Ithaca College, he served in the 1995 when he handed it over to Army during World War II. As a Stan Davis. With Reichenthal’s paratrooper in the 101st Airborne assistance, Davis arranged to Infantry “Screaming Eagles,” he turn the annual workshop over landed in Europe via glider; later he to the Suffolk County Music survived the Battle of Bastogne. Educators Association. Following the war, he continued SCMEA re-named the event, music studies. In 1951 he was intro- now primarily for students, the duced to the recorder as the only Eugene Reichenthal Day of American invited to a summer course Recorder. offered by the British Ministry of The first One-Week Summer the public in the spring and fall), the Education sponsored by Oxford LIRF workshop, organized by All-Girl Swing Band, and numerous University. This was but the first of Reichenthal and Burakoff and held in small ensembles. many in which he participated over 1974, was established primarily for Gene truly was a catalyst and the years. A few years later, he had adults and music educators. Under cheerleader for the recorder and for his first real recorder lessons—with Gene’s leadership, over time LIRF recorder players internationally and British scholar Edgar Hunt. drew a broad spectrum of recorder nationally, as well as locally. Following Reichenthal taught for many years enthusiasts from all over the country his many years of dedicated service, he at the Harborfields School District in and abroad. was recognized by the ARS in 1999 Greenlawn, Long Island, NY, where In his later years, he turned over with its annual Distinguished he taught band as well as recorder and the operation of LIRF to the capable Achievement Award. Many of his served as music department admini- hands of Davis. As it became longtime friends were present during strator. He truly was the “Pied Piper” increasingly difficult to find suitable the Boston Early Music Festival that for recorders. For more than 30 years, locations for the event, the last LIRF June, when the award was presented. he prepared lists of recorder music for was held at Hofstra University in Many of those friends also contributed the New York State School Music 2004 and is still very much missed. memories to a 2008 LIRF tribute, Association competition. Many recorder players based in “Forty Years of Recorder—Festivals, He was a long-time contributor to New York City and Long Island have Memories and Messages.” both AR and the newsletter of the New gone on to be enthusiastic participants Gene was preceded in death by York Recorder Guild. For AR, he in the Recorder Society of Long his beloved wife Cynthia, who died in wrote a “Teaching Tips” column until Island, the Recorder Orchestra of 2007, and survived by daughter Sara 2003, when he discontinued his New York (which presents concerts for and her family and by brother Harold.

8 March 2011 American Recorder Bits & Pieces Amy Pikler is Finalist in YoungArts Top 2010 Student Artists Farallon Recorder Quartet has Opera as part of the Holland Festival, Recorderist Amy Pikler, a high school received a $3000 grant, the maximum the work premiered in April 2010 in student from Glencoe, IL, was a amount, from the San Francisco (CA) the U.S. at Carnegie Hall, New York. YoungArts finalist in Music/Wood- Friends of Chamber Music to pursue Besides orchestral, chamber, winds–Recorder. Chosen from more a concert and recording project with vocal and piano works, Andriessen’s than 5000 applicants in nine disci- soprano Jennifer Paulino and lutenist works include: Paintings, recorder/ plines in the visual, literary and per- John Lenti. The quartet has also flute and piano, 1961; Sweet, alto, forming arts, she joined some 150 released a new CD, From Albion’s 1964; Melodie, alto and piano, finalists for YoungArts Week in Shores, which includes music from 1972-74; Ende, two altos/one Miami, FL, January 10-15, for 14th-century England up to that of player, 1981; Anfang, alto and piano. master classes by world-renowned Henry Purcell. The CD is available Harmonia, the weekly one-hour artists, performances and exhibitions. to be purchased or downloaded at syndicated radio program hosted by Finalists were selected by blind www.farallonrecorderquartet.com. Angela Mariani, marked the 25th adjudication from a pool representing Mary Halverson Waldo has anniversary of Early Music America all 50 states, the District of Columbia, joined Chatham Baroque—for their (EMA) by airing a two-part retro- and U.S. territories. During Young- January “Peanut Butter and Jam” spective highlighting EMA Competi- Arts Week judges chose Gold, Silver family concert entitled, “It’s a Bird, tion Winners. In January, the first part and Level I, II and III winners, who it’s a Plane, it’s a Sopranino”; and for looked at Ensemble La Rota, Asteria, receive cash prizes. Gold and Silver the Pittsburgh Opera’s production of and Catacoustic Consort. Part 2, in winners have the opportunity to travel Rinaldo by G.F. Handel. February, featured Concord Ensem- to New York later in the spring for the Erik Bosgraaf is the first recorder ble, Masques, and Plaine & Easie. series “In the Studio,” an additional player to receive the Dutch Music Writer/host Bernard Gordillo week of workshops, collaborative per- Award, the highest award for classical (Harmonia Podcast) said, “In putting formances and exhibitions. YoungArts music given by the Dutch ministry of together the episodes, one point was Week judges also nominated Presi- culture. It was presented during his absolutely clear: all of the past EMA dential Scholars in the Arts, awards February concert with the Dutch competition laureates trace their suc- given to just 20 seniors at the White Chamber Orchestra at the Muziek- cess back to that initial win and the House. gebouw Amsterdam, which included high-profile exposure which YoungArts, the core program of the world premiere of a double con- followed.” Visit http://indiana the National Foundation for Advance- certo for violin and recorder by Dutch public media.org/harmonia/. ment in the Arts, recognizes and sup- composer Matijs de Roo. French company Traversos Ber- ports America’s most talented 17- Another Dutch composer, Louis nolin has added resin traversos to its and 18-year-olds in the visual, literary Andriessen, has won the Grawemeyer list of instruments. Like Bernolin and performing arts. The mission of Award for Music Composition for wooden flutes, the resin flutes are YoungArts is to identify emerging La Commedia, his 2008 opera based on hand-finished (not molded, as are artists and assist them at critical Dante’s The Divine Comedy. Premiered those made from ABS plastic). See junctures in their educational and two years ago by the Netherlands www.traversos-bernolin.com. professional development, and to raise the appreciation for, and support of, Madeline Mix Hunter, 66, lost her brief battle with cancer on February 1. the arts in American society. For more As president of Magnamusic Distributors in Sharon, CT, for the last 40 years, information and a list of 2011 finalists, she is well-known in the North American recorder community as well as abroad visit www.youngarts.org. (through Magnamusic’s distributor arrangements with both Moeck and the Pikler has received ARS scholar- UK’s Recorder Magazine). A celebration of her life will be held May 14 at ships (2008-10), and was a finalist in St. Thomas Episcopal Church in Amenia Union, NY. Memorial donations the 2009 Piffaro Competition for may be made to the food pantry at St. Thomas (50 Leedsville Rd., Amenia young recorder players, as well as a Union, NY 12501). Magnamusic will continue under the leadership of her Midwest Young Artist of the 2009 son Timothy Hunter of Sharon, CT, the third generation to run this business. Walgreens Concerto Competition.

www.AmericanRecorder.org March 2011 9 RECORDERS IN composed in the last decade. They Music Treasures NEW YORK CITY tended toward the meditative, with Consortium Online rather slow tempi stressing beauty The Music Treasures Consortium has By Anita Randolfi, New York City, NY of sound rather than technique. I launched a web site giving access to especially liked Caprice #3 (2000) by some of the world’s most valued music On December 3, Phoenix Concerts Larry Bell, and Paula M. Kimper’s manuscript and print materials, presented a program at the Church of Take, O Take Those Lips Away (2010) http://lcweb2.loc.gov/ St. Matthew and St. Timothy of New on a text from Shakespeare’s Measure diglib/ihas/html/treasures/ York City titled “Meditations and for Measure. The Kimper seemed to treasures-home.html. Dances.” The mission of Phoenix take its musical inspiration from the The resource is the creation of Concerts is “to offer excellent con- Thomas Morley canzonettes. renowned music libraries and archives temporary concert music of a broad On December 11, a holiday in the U.S. and UK, including the stylistic range; to commission new concert was presented at the Morris– British Library, Eda Kuhn Loeb works by emerging and established Jumel Mansion in upper Manhattan. Music Library at Harvard Univer- composers; and to remain committed The members of Brooklyn Baroque sity, Juilliard School Lila Acheson to the inclusive nature of musical —Andrew Bolotowsky, Baroque Wallace Library, Library of Con- performances.” flute; David Bakamjian, Baroque gress, Morgan Library and New The performers were singers ‘cello; and Rebecca Pechefsky, York Public Library. The site is Elaine Valby and Gilda Lyons, harpsichord—were joined by Sofia hosted by the Library of Congress on and recorder player Daphna Mor. Dimitrova, soprano, and Gregory its Performing Arts Encyclopedia, Such small forces made for an even- Bynum, recorder. www.loc.gov/performingarts. ing of musically transparent textures Bolotowsky and Bynum did The aim of the site is to further in which no performer need push to an excellent job of blending the two music scholarship and research by be heard. kinds of flute sound in their perform- providing access to digital images of For Mor it was also a chance ance of the Johann Christoph Pez primary sources (manuscript scores, to show her skill on various sizes Suite No. 2 in C for recorder, flute and first and early editions) for of recorder from the sopranino and continuo. And both provided performance and study of music. right through to the bass—and she a beautiful aura of sound around Online items range from the 16th sounded wonderful on all of them. Dimitrova in two pieces by Agostino century to the 20th century in this Most of the pieces presented were Steffani: Vieni o cara amata sposa, and initial launch, and cover composers Quanto, quanto. from J. S. Bach to Igor Stravinsky. During Festival Suzuki held in Janu- ary in Lima, Perú, Father William Lopez of the poverty-stricken city of Huancavelica received a box of 10 soprano recorders donated to his school students. This most recent gift of sopranos was purchased using money raised by children at Grace Episcopal Church, Anderson, SC. An alto was also bought with money from Eli Pressman’s family charity box in Shorewood, MN (see “Kids Helping Kids,” January 2011 AR, page 21). To donate gently-used or new recorders, or money to buy more new instruments for Huancavelica, contact Mary Halverson Waldo, [email protected].

10 March 2011 American Recorder “That beautiful season the Summer!” Annual Workshop Roundup Evening events include a faculty con- COLUMBIA GORGE WINDS AND WAVES cert, English country dance, and EARLY MUSIC RETREAT RECORDER WORKSHOP madrigal singing. A sample of this year’s Menucha Retreat Center, offerings includes: music of Spain for Sitka Center for Art and Ecology, OR Columbia Gorge, Portland, OR cornettos, sackbuts and double reeds; April 30-May 2 March 25-28 contemporary recorder ensemble with Directors: Frances Blaker, Letitia Director: Vicki Boeckman music of Leenhouts, Schwertenberger Berlin, Cléa Galhano, Rotem Gilbert Join us at the third annual Columbia and Foque; unaccompanied Baroque This is the 13th year of the Oregon Gorge Early Music Retreat for a long works by Bach, Telemann and Braun; Coast Recorder Society’s Winds and weekend filled with music-making, loud band; Danish madrigals from the Waves Recorder Workshop. Come work camaraderie and excellent food. The court of King Christian IV; English on a wide variety of music with inter- historic Menucha Retreat Center, Renaissance music for singers, nationally-renowned recorder faculty located just 20 miles east of Portland, recorders, loud band and viols; that perform and conduct workshops is nestled among old growth trees on 16th Century Counterpoint. throughout the U.S., and in Europe and a bluff overlooking the spectacular Faculty: Vicki Boeckman, Brazil. They will present a concert on Columbia River, offering a truly beauti- Lisette Kielson, Laura Kuhlman, April 29. ful natural setting for this musical expe- Gayle Neuman, Philip Neuman. Age 15 and older. Classes are divided rience. Cost: $450 into ability groups: intermediate, upper Ensemble classes are offered for low intermediate and advanced. The final Contact: Jeanne Lynch, intermediate to advanced recorder hour on Monday is a “Grand Consort” 1916 SE 29th Ave, Portland, OR players, and range from Renaissance 97214; [email protected]; with all participants playing some of the consort music and Baroque to contem- http://portlandrecordersociety.org music studied. porary works, including music for Tuition: $240 double reeds, percussion and viola Headline quote by Contact: 541-994-5485; da gamba. Henry Wadsworth Longfellow [email protected], Columbia sitkacenter.org, Gorge Early MARIN HEADLANDS RECORDER WORKSHOP Music Retreat Point Bonita YMCA, partici- near San Francisco, CA May 20-22 pants With each coming tide of that mighty (photo by metronome, the Pacific Ocean, our Marin Headlands Recorder Workshop William 2011—perched at the edge of the ocean Stickney) and embraced in greenery—gets nearer. Again this workshop will swell with harmonies of recorders, viols, and perhaps a psaltery or drum. Intermedi- ate and advanced players are warmly invited to join members of the spon- soring East Bay ARS Chapter at this annual event. This year’s faculty includes familiar and

www.AmericanRecorder.org March 2011 11 new faces: David Barnett, Tom Bickley, surroundings. All workshop music is ROCKY IX WORKSHOP Cindy Beitmen, Frances Feldon, Judy provided; please bring your recorders, Linsenberg and Farley Pearce. Music May 20-22 viols, buzzies, etc. Rooms are available offerings will range from easily playable YMCA of the Rockies, after the evening sessions for informal to challenging. Estes Park, CO playing (including a traditional late- Directors:Dick Munz, Lisa McInnis The workshop is held at the Point night buzzy gathering and a late-night Bonita YMCA, one of very few public Wake up to elk grazing outside your percussion session, both hosted by Dale facilities on this largely undeveloped window at the ninth biennial Rocky Taylor). area of California coast. Set in a meadow Recorder Workshop! The Denver ARS The Estes Park Center at the YMCA with short walks to Pacific Ocean vistas, chapter invites you to share 14 sessions of the Rockies is a year-round con- the historic Point Bonita Lighthouse, covering a range of topics—interesting, ference center and family resort located and remnants of WWII fortifications, educational and fun. Faculty include about 85 miles from Denver (5 miles it is a place to get away, recharge, meet Mark Davenport, Glen Shannon, Anne southwest of the town of Estes Park) new friends, or re-connect with old. Fjestad Petersen and Dale Taylor, who at an elevation of 8010 feet. Please visit Accommodations include dormitory- will also be available for instrument the YMCA camp’s web site for more style rooms, a large dining area, and repair and tune-ups. information: www.ymcarockies.org. playing spaces all on one level. Rooms The workshop starts with a casual Bring sturdy shoes to take advantage of are available for impromptu playing. drop-in playing session while partici- the opportunity to enjoy scenic walks Full weekend cost: $260; Saturday and pants register on Friday afternoon, during free time! Sunday only: $190; Saturday only: $120 with the opening Big Bash Recorder Contact: Lisa McInnis Orchestra that evening. Following a full Contact: Merlyn Katechis, or Dick Munz, Saturday of classes (including another [email protected], 2923 Adeline St. Berkeley, CA evening Big Bash), plus a half-day on denverrecordersociety.org. 94703; 510-593-4679; Sunday morning, participants may [email protected]; choose to take advantage of the beautiful symbolicsolutions.com/ebrs

San Francisco Early Music Society Summer Workshops 2011 Recorder Workshops · July 10–16 and July 17–23 Week 1: Harmony of the Spheres. Week 2: Gods and Monsters · Classes for intermediate and advanced players, amateurs and professionals in an inspiring and supportive atmosphere. Pick your week or come to both. Recorder ensemble, technique classes, Renaissance consort, concerts, lectures and more. Explore medieval, Renaissance, Baroque, contemporary and world music, working with world-class teachers. Small classes. Quiet campus. Special offerings: Recorder orchestra, Renaissance consort, recorder master class, coached informal playing. Faculty: Annette Bauer (week 1), Frances Feldon, Inga Funck, Rotem Gilbert, Shira Kammen (week 2), Tricia van Oers and Hanneke van Proosdij. Info: Rotem Gilbert, 626-441-0635; [email protected] Medieval & Renaissance Workshop · June 19–25 Music from the Edges of Europe · Ensemble classes for recorders, voices, cornetto, early reeds and winds, viols, medieval and Renaissance strings and percussion. Ensemble coaching, Renaissance choir, concerts, lectures and more. A wide variety of classes in technique and repertoire for recorder and mixed ensembles. Featuring recorder faculty Annette Bauer and Nina Stern. Info: Tom Zajac, 617-323-0617; [email protected] Baroque Workshop · June 26–July 2 The Italian Connection · Master classes, recorder ensemble, concerto evening, coached ensembles, Baroque orchestra, concerts and lectures. Featuring recorder faculty Frances Blaker and Marion Verbruggen. Info: Kathleen Kraft, 707-799-2018; [email protected] Music Discovery Workshop · July 31–August 5 Explorations of 15th Century Italy with Leonardo da Vinci, the Renaissance Man! · Multicultural day camp for children and youth ages 7 to 15. Early music and Renaissance social history. Instruction in recorder, harpsichord, strings, chamber music, musicianship, Renaissance dance, crafts, costume-making, games, and more. Beginners to advanced students welcome. Featuring recorder faculty Louise Carslake. Info: Letitia Berlin, 510-559-4670; [email protected] For more information, visit our web site: www.sfems.org

12 March 2011 American Recorder Cost: $215 (double occupancy); modations are air-conditioned and easily WHITEWATER EARLY $25 discount for new beginning walkable. MUSIC FESTIVAL (ARS) recorder players Currently, our featured faculty are University of Wisconsin, Contact: Nancy Chabala, Saskia Coolen and Annette Bauer Whitewater, WI 8609 45th St., Lyons, IL 60534- (recorders), Tom Zajac (louds and June 3-5 1616; 708-442-6053 (day), ensemble), Mary Springfels (viols)— Directors: Nancy Chabala, [email protected] but watch for more faculty to be added. Carol Stanger, Pam Wiese (housing/registration); Contact: Daniel Johnson, Our workshop is held on campus at the [email protected] PO Box 4328, Austin, TX 78765; (mailing/scholarships); University of Wisconsin–Whitewater, 512-371-0099; [email protected]; [email protected] (faculty/ about 60 miles southwest of Milwaukee. toot.org facilities); ChicagoARS.org Classes include focus and specialty area instruction for all levels of recorder INTERLOCHEN EARLY MUSIC SUMMER TEXAS TOOT (ARS) playing, consort viola da gamba, wind WORKSHOP Concordia University, Austin, TX band, voice, and mixed consort. A Interlochen Center for the Arts, June 5-11 variety of special interest classes on Interlochen, MI Director: Daniel Johnson Friday evening include low recorder June 12-17 ensemble, Baroque flute, and intro- The Summer Texas Toot is a one-week Director: Mark Cudek duction to pipe & tabor, and a Saturday program of classes in Renaissance and Make and enjoy Medieval and Renais- evening participant gathering led by Baroque music at all levels, for sance music while learning new skills Louise Austin. Classes include music recorders, viols, plucked strings, and techniques on the campus of from Medieval to modern. Renaissance reeds and brass, singers, Interlochen Center for the Arts, in and harpsichord. Classes include an Several music/instrument vendors on the woods of northern Michigan. site. Dale Taylor will be on site for array of small, one-on-a-part Renais- Participants will learn, arrange and repairs. All ages are welcome, as well sance and Baroque ensembles and larger perform Renaissance music of the as non-participants. mixed vocal and instrumental groups. The size of the workshop enables us to Iberian Peninsula. The concert theme Faculty includes Louise Austin, Mark create classes for all levels of students, is Spain: The Golden Age. Musicians Davenport, David Echelard, Charles from those of modest skills to advanced will explore music from the Cancionero Fischer, Shelley Gruskin, Lisette players and singers. de Palacio (c.1500) featuring works Kielson, Laura Kuhlman, Patrick of Juan del Encina, and progress Same Texas Toot hospitality and tradi- O’Malley, Laura Osterlund, Tulio through the 16th century with tions—back in Austin, but at Concordia Rondón, Karen Snowberg, Todd works by Francisco Guerrero. Wetherwax and Pamela Wiese. University’s beautiful new campus! Topics will include articulation, Brochures available. Classrooms, dining and dorm accom- ornamentation, improvisation and ensemble arrangement. The work- The Texas Toot, Summer Edition shop culminates with a participant Early Music Workshop — June 5-11, 2011 performance on period instruments The lovely Concordia campus in Austin, TX offers air-conditioned including recorders, other early winds, classrooms, dining and dorms, all easily walkable, and in the midst of viols, lutes, harpsichord and percussion. a nature preserve. We offer a one-week program of classes and en- Vocalists are also welcome. Participants sembles in Renaissance, Medieval and Baroque music at all levels, fea- supply their own instruments. turing expert instructors in recorder, viol, early reeds, lute, harp, and voice. Plan to join us! Featured faculty this summer (among others): Tuition: $425 ($450 after April 1); room/board costs vary. Early Bird Saskia Coolen & Annette Bauer — recorders registration (deadline April 1) is Mary Springfels — viols Tom Zajac — reeds, ensemble recommended, as space is limited. Registration form, class offerings, and prices will be on our Website in April 2011. For more information, go to: Contact: Matthew Wiliford, Director, ICCA, PO Box 199, http://www.toot.org [email protected] or email Interlochen, MI 49643; 231- 276-7441; 231-276-5237 (fax); Save the dates for 2011 Fall T oot! Nov 18-20, 2011 [email protected]; http://college.interlochen.org

www.AmericanRecorder.org March 2011 13 for Baroque instruments and voice. Faculty and student concerts, English SAN FRANCISCO EARLY MUSIC country dancing, special lectures, SOCIETY MEDIEVAL & The internationally renowned faculty, morning and afternoon workshops in RENAISSANCE WORKSHOP (ARS) headed by the members of the Oberlin Baroque Ensemble (Michael Lynn, viols, recorders, voice, mixed ensembles, Sonoma State University, Marilyn McDonald, Catharina Meints Sephardic music and Baroque chamber Rohnert Park, CA and Webb Wiggins), will again lead music, and classes in Feldenkrais body June 19-25 daily master classes and ensemble coach- work. Director: Tom Zajac ings. Faculty and student concerts Camp facilities include hiking, Music from the Edges of Europe. In a promise to offer memorable listening swimming, boating; camp gardens departure from standard workshop fare, and music-making experiences; lectures supply kitchen with vegetables. Very this year we present early repertory from and informal open discussions stimulate affordable rates. Cyprus, Portugal, Naples, Spain, the intellect; and the ever-popular Tuition: $250; Room & Board $454 Istanbul, Slavic nations and the Baroque dance classes provide excellent (double occupancy), $491 (single) Mediterranean basin. physical exercise as well as a kinetic Contact: Larry Wallach, appreciation for the rhythms that under- Coaching by world-class specialists in 69 Welcome St., Great Barrington, lie so much music of the Baroque era. Medieval and Renaissance music. MA 01230; 413-528-7212 (day); Classes for voices, recorders, cornetto, Contact: Anna Hoffman, 413-528-9065 (evening); sackbut, early reeds and winds, viols, Conservatory of Music, 77 West 413-528-7365 (fax); Medieval and Renaissance strings and College St., Oberlin, OH 44074; [email protected]; percussion; ensemble coaching, Renais- 440-775-8044; 440-775-8942 worldfellowship.org sance choir, concerts, lectures and more. (fax); [email protected]; Scholarships as well as academic credit oberlin.edu/con/summer/bpi INDIANAPOLIS EARLY or continuing education credit are MUSIC FESTIVAL offered. WORLD FELLOWSHIP Indiana History Center, EARLY MUSIC WEEK Featuring recorder faculty Annette Indianapolis, IN Bauer and Nina Stern. Other faculty: Chocorua, NH June 24-July 24 Rebekah Ahrendt, viola da gamba; June 23-June 30 The Indianapolis Early Music Festival Karen Clark, voice, movement for Directors: Jane Hershey, Larry Wallach is the oldest continually running early musicians; Bruce Dickey, cornetto; Theme for World Fellowship, 2011: music concert series in the U.S. Pre- Greg Ingles, sackbut; Daniel Johnson, Luther’s Legacy: Reformation and sented since 1967, our mission is to voice; Tim Rayborn, Medieval strings Counter-Reformation in Music. enrich, educate and entertain audiences and percussion; Mehmet Sanlikol, ud Faculty of seven—including Jane with the music of Medieval, Renais- and ney; Mary Springfels, viola da Hershey, Roy Sansom, Pamela Dellal, sance, Baroque and early Classical eras, gamba and Medieval strings; Dan Jay Rosenberg, Anne Legêne, Larry and feature exciting performers of Stillman, early reeds; Tom Zajac, Wallach and Josh Sholem–Schreiber national and international stature using early winds. —in a beautiful White Mountain camp instruments of the period and histori- Tuition: $480 ($530 after May 2); setting, conduct a week-long workshop cally-informed styles and techniques. Room & Board $505 (single occupancy) in French early music (late Medieval For 2011 we will present REBEL with Contact: Tom Zajac, SFEMS, through Baroque). Matthias Maute, June 24; Tempeste di PO Box 10151, Berkeley, CA 94709; 617-323-0617; World [email protected]; Fellow- sfems.org ship Early OBERLIN BAROQUE Music PERFORMANCE INSTITUTE Week Oberlin College, Oberlin, OH 2009 June 19-July 3 This year marks the 40th Baroque Performance Institute at Oberlin, America’s premiere summer workshop

14 March 2011 American Recorder Mare, June 26; Baltimore Consort, July Rita Lilly, voice; Anna Marsh, Baroque CAMMAC EARLY MUSIC WEEK 8-9; Viva Vivaldi with Ronn McFarlane, bassoon; David Newman, voice; July 10; Plaine and Easie, July 22; and William Skeen, Baroque ’cello; Mary Lake MacDonald Music Center, Sacabuche!, July 24. We also offer our Springfels, viola da gamba; Peter Sykes, Harrington, QC, Canada fourth annual Family Concert featuring harpsichord. July 3-10 Directors: Matthias Maute, Baltimore Consort on July 9—a free Tuition: $480 ($530 after May 2); Marie–Nathalie Lacoursière concert geared to young audience Room & Board $505 (single occupancy) members. Several groups also offer CAMMAC provides a unique oppor- Contact: Kathleen Kraft, SFEMS, outreach events for younger (generally tunity to make music with family and PO Box 10151, Berkeley, CA high-school-aged) musicians and actors. friends in a beautiful setting under the 94709; 707-799-2018; Contact: emindy.org; [email protected]; guidance of professional musicians. In [email protected] sfems.org four daily 75-minute classes plus lec- tures, early music lovers may play to SAN FRANCISCO EARLY MUSIC MOUNTAIN COLLEGIUM their heart’s content. Small ensembles SOCIETY BAROQUE MUSIC & and voice classes are set up ahead of Western Carolina University, time; registration for other classes occurs DANCE WORKSHOP (ARS) Cullowhee, NC on site. Courses include choir, large Sonoma State University, July 3-9 instrumental ensemble, many recorder Rohnert Park, CA Director: Jody Miller and viol classes, Medieval and Renais- June 26-July 2 Mountain Collegium offers an informal, sance ensembles, Orff method and Directors: Frances Blaker, yet intensive study of Medieval, Renais- Baroque dancing, plus courses for Kathleen Kraft sance and Baroque music, focusing on adolescents and for children ages 4-11. The Italian Connection. Here is your recorder, viol, other early instruments, Music of Handel and Purcell. Key faculty: opportunity to make beautiful music and voice. Featured classes include Matthias Maute, Laura Pudwell, with like-minded Baroque music enthu- technique, improvisation and consorts. Francis Colpron, Sophie Larivière, siasts. Master classes for instrumental- Students may also choose classes in folk, Betsy MacMillan, Geneviève Soly, ists and singers; coached ensembles; Appalachian, Celtic, Sephardic and Marie–Nathalie Lacoursière. Baroque orchestra and chorus as well as contemporary music. Small classes and faculty and student concerts. Academic easy access to faculty create a friendly Contact: Johanne Audet, credit or continuing education credit and relaxed learning experience. Jody 85 Chemin CAMMAC, offered through Sonoma State. Miller, director; other recorder faculty Harrington, QC J8G 2T2 CANADA; 888-622-8755 X1; include Gwyn Roberts, Patricia Petersen Featuring recorder faculty Frances 819-687-3323 (fax); and Valerie Austin. Blaker and Marion Verbruggen. Other [email protected]; faculty: Sand Dalton, Baroque oboe; Contact: Jody Miller, 404-314- cammac.ca/english/TabLM/ Kathleen Kraft, Baroque flute; Kati 1891; [email protected]; Summer.shtml Kyme, Baroque violin and orchestra; mountaincollegiummusic.org

Workshops carrying Madison Early Music Festival ARS designation in their 2011 Workshop and Concert Series descriptions have joined July 9 – 16, 2011 the ARS as workshop El Nuevo Mundo: members. Other shorter The Age of Exploration in the New World workshops may be spon- From Mexico to Peru, from lofty cathedrals to mean streets, from transplanted sored periodically through European composers to indigenous American musicians, explore the fusion of the year by ARS chapters, cultures and music in the New World during the Renaissance and Baroque eras. and are listed in the The festival includes a seven-concert series and a workshop with classes and calendar portion of each ensembles for participants of all levels. ARS Newsletter, as well The 2011 Concert Series features Piffaro on Saturday, July 9. Historical as on the ARS web site, wind faculty includes Joan Kimball, Bob Wiemken and Tom Zajac. when information becomes www.madisonearlymusic.org • (608) 263-6670 • [email protected] available from presenters.

www.AmericanRecorder.org March 2011 15 Bring a jacket—the San Francisco with spicy rhythmic folk sonorities of INTERNATIONAL RECORDER area can be cool. guitars, harps and percussion. Our FESTIVAL AND SAA SUZUKI voyage will take us across the Atlantic, RECORDER TEACHER Students or Teachers Registration Fee: from Mexico to Peru, from lavish TRAINING (ARS) $35 (postmark before May 28).Tuition: students under age 18, $200/ week or cathedral churches to bustling city Ladera Community Church $40/day; adult students, $ 250/week streets, as we explore the fusion of (west of Stanford University), or $50/day ($25 late fee after May 28). cultures and music in the New World Portola Valley, CA Tuition, SAA Units (fee depends on the during the Renaissance and Baroque July 5-9 Unit), contact Kathy Caldwell–White. eras. Director: Kathy Caldwell–White Contact: Kathy Caldwell–White, The annual All-Festival Concert will Adults, children, teachers (inclusive Director, 925 Lakeville St. #347, recreate a Nativity Vespers service at the of non-Suzuki recorder players and Petaluma, CA 94952; 707-876- Puebla Cathedral (Mexico). Participants Suzuki participants). Ensembles, 4627; [email protected]; will perform in ensembles from small sight-reading, master classes, concerts, housing/visitor information: instrumental consorts and vocal groups Renaissance-Late Baroque, play-in, Elaine, 800-288-4748 or 650- to full chorus and orchestra. Music and Movement, Suzuki 348-7600; smccvb.com Featured ensembles-in-residence: Association of the Americas Units Piffaro, The Rose Ensemble, Ensemble (Independent Study Sessions). MADISON EARLY MUSIC Viscera and Chatham Baroque. See www. books.google.com, Suzuki FESTIVAL Historical wind faculty include Bob Recorder School Book 5-8 for Master University of Wisconsin–Madison Wiemken, Joan Kimball and Tom Zajac. Class Repertoire lists. The focus is on July 9-16 Tuition: $495 (student and other technique with musical expression. CDs, Directors: Cheryl Bensman Rowe discounts available); Room & Board part/accompaniment books are available and Paul Rowe, artistic directors; $36.60 per person per night (double from Alfred.com or your music store Chelcy Bowles, program director occupancy), $54.20 per night (single) (i.e., honeysucklemusic.com). MEMF was created to provide an Contact: Chelcy Bowles, Faculty: Jen Huang, Taiwan; Alan opportunity for musicians, scholars, University of Wisconsin–Madison, Thomas, FL; Kathy Caldwell–White, teachers and early music enthusiasts to 21 N. Park Street, 7th Floor, CA gather and exchange information and Madison, WI 53715; 608-265- Bring instruments, music stands, ideas about Medieval, Renaissance and 5629; 608-262-4555 (fax); brown bag lunch, optional ensemble Baroque music, and to bring acclaimed [email protected]; sheet music. Beverages are provided. early music artists to the Midwest to www.madisonearlymusic.org perform in beautiful GREAT LAKES SUZUKI Madison, WI. FLUTE & RECORDER INSTITUTE El Nuevo Mundo: McMaster University, The Age of Explo- Hamilton, ON, Canada ration in the New July 9-16: Teacher training, Book 1 World. Long- July 12-16: Teacher training, Book 4 established July 12-16: Student Institute European music Director: David Gerry brought to the Master classes, group instruction, recit- New World by als, plus enrichment classes for students. 16th-century Teacher training with Mary Halverson Spanish conquis- Waldo. New for 2011: juggling skills for tadors, minstrels teachers and students!! For 2011 tuition and Jesuit mis- and housing costs, see web site. sionaries was Contact: David Gerry, 129 Locke flavored by St. South, Hamilton ON L8P 4A7 the indigenous Madison Early Music Festival 2009 CANADA; 905-525-9549; American people [email protected]; davidgerry.ca (photo by Lorah Haskins)

16 March 2011 American Recorder technique classes for recorder and viol, SAN FRANCISCO EARLY MUSIC consort and mixed repertoire, recorder SOCIETY RECORDER WORKSHOP master class, percussion for all levels (ARS) (and a drum circle!), Baroque flute, beginning viol, theory, workshop St Albert’s Priory, Oakland, CA orchestra and more. Choose a particular July 10-16: Harmony of the Spheres period, or mix it up with a class from July 17-23: Gods and Monsters almost every period of music. Directors: Rotem Gilbert, Hanneke van Proosdij Work hard and play hard with friends, Great Lakes Suzuki Flute new and old! Intense music-making that In response to overwhelming demand, & Recorder Institute faculty will inspire you during the workshop we offer two weeks of Recorder Work- and throughout the year. Our faculty shop in 2011. Choose one week or PORT TOWNSEND EARLY and directors eagerly await your arrival come to both. Classes for intermediate MUSIC WORKSHOP and anticipate a splendid workshop. and advanced players, amateurs and professionals, performers and soloists, University of Puget Sound, Recorder faculty: Jack Ashworth, Janet conductors and music teachers in an Tacoma, WA Beazley, Tish Berlin, Frances Blaker, inspiring and supportive atmosphere. July 10-16 Vicki Boeckman, Louise Carslake, Recorder ensemble, technique classes, Directors: Vicki Boeckman, artistic Cléa Galhano, Peter Seibert. director; Jo Baim, managing director Renaissance consort, concerts, lectures Contact: Jo Baim, Managing and more. Explore Medieval, Renais- Join us this summer at our new location Director, 4727–42nd Ave. SW, sance, Baroque, contemporary and with a star-studded faculty, a beautiful #207, Seattle, WA 98116; world music, working with world- tree-lined and easy-to-navigate campus 206-932-4623; class teachers. with accessible facilities, and a curricu- [email protected]; Small classes. Quiet campus. Special lum that will leave you wishing there www.seattle-recorder.org were 48 hours in a day! Consort and offerings: recorder orchestra, master

Jack Ashworth, viol, recorder Cleá Galhano, recorder Janet Beazley, recorder Shira Kammen, vielle Tish Berlin, recorder Peter Maund, percussion Frances Blaker, recorder Ellen Seibert, viol Joanna Blendulf, viol Peter Seibert, recorder, choir Vicki Boeckman, recorder, director Margriet Tindemans, viol, vielle Louise Carslake, recorder, flute Brent Wissick, viol

Play early music in the spectacular Pacific Northwest! Choose from classes in recorder, viol, flute, and percussion. Polish your skills and/or take up a new instrument. Sing and join a drum circle. Enjoy the faculty concert. Take part in the student recital. Make the most of your stay with a hike at nearby Mt. Rainier or a visit to the Museum of Glass. For information or to request a brochure, visit www.seattle-recorder.org write to Port Townsend Early Music Workshop 4727 – 42nd Ave. S.W. #207 / Seattle, WA 98116 or call (206) 932-4623 July 10–16, 2011 PortTownsend Early Music Workshop

At the beautiful University of Puget Sound, Tacoma, WA Vicki Boeckman, Director Presented by the Seattle Recorder Society

www.AmericanRecorder.org March 2011 17 class, coached informal playing. Bring AMHERST EARLY MUSIC COLUMBIA BAROQUE SOLOISTS your ensemble (at least five players) and FESTIVAL (ARS) SUMMER RECORDER INSTITUTE be guaranteed a daily group class. Connecticut College, New London, CT Columbia, SC Recorder faculty: Annette Bauer (week July 10-17: Baroque Academy July 12 -August 2 (four evenings) I), Frances Feldon, Inga Funck, Rotem July 17-24: Virtuoso Recorder/ Director: Jean Hein Gilbert, Shira Kammen (week II), Tricia Recorder Seminar van Oers, Hanneke van Proosdij. Other Totally Telemann. High school and adult Director: Marilyn Boenau faculty: Stacey Palinka, Feldenkrais alto recorder players. Weekly classes: movement; Katherine Heater, harpsi- Music of Italy and Spain. Two weeks of lectures, demonstrations, mini-concerts, chord; Shirley Hunt, viola da gamba. classes in topics spanning Medieval master classes on Telemann’s sonatas through Baroque music. Both weeks: and fantasias. Jean Hein, recorders, Tuition: $445 ($495 after May 2); recorder consorts, viol consorts, Renais- with Jerry Curry, harpsichord. Room & Board $335 (single occupancy) sance and Baroque ensembles, early Tuition: $80 Contact: Rotem Gilbert, SFEMS, notation, Renaissance reeds, harpsi- Contact: Jean Hein, PO Box 10151, Berkeley, CA chord, vocal ensembles, all-workshop 803-256- 8383 X113, 94709; 626-441-0635; vocal-instrumental collegium. Students [email protected] [email protected]; of all levels and ages are welcome. Wide sfems.org variety of classes for recorder, viol, voice, MIDEAST WORKSHOP (ARS) harpsichord, reeds, brass, flute, dance. LaRoche College, Pittsburgh, PA Festival Concerts include: Bassano July 17-23 and Shakespeare: The Dark Lady, Director: Marilyn Carlson The Flanders Recorder Quartet, July 10-17, 17-24, 2011 with Lawrence Rosenwald, narrator; The Late 16 c. in Italy and England. 55-60 students of all ability levels; adults Connecticut College, Cristóbal de Morales: Missa super fa re ut fa sol la, with brass, reeds, and only. Instruction for recorder (all levels New London, CT voices; solo concert: Nina Stern, except novice), viol, harp, flute. You may recorder, with Glen Velez, frame drum. enroll for recorder, viol, flute as primary instrument; harp, voice, recorder, viol as Week I: Baroque Academy, Baroque secondary instrument. Large and small Opera Project, Baroque oboe, flute ensembles: all-workshop ensemble and bassoon, Recorder Boot Camp, (instruments/voices), Renaissance band Historical Dance. (recorders, viols, capped reeds), Medie- Week II: Virtuoso Recorder, Recorder val collegium, consorts by level, vocal featuring Seminar, Ensemble Singing Program, ensemble, English country dance. We The Flanders Recorder Quartet! Lute Society of America Seminar, offer harp-for-novice, hands-on expe- Music of Italy and Spain cornetto and sackbut. rience without owning an instrument; Introduction to Medieval fiddle; bass Medieval, Renaissance, and Recorder faculty: Tom Beets, Letitia recorder class; notation; understanding Baroque classes both weeks. Berlin, Frances Blaker, Héloïse clefs; basics for wind players; improvisa- All levels welcome, Degrugillier, Justin Godoy, Eric Haas, Valerie Horst, Patricia Petersen, Wendy tion without fear. no audition required! Powers, Gwyn Roberts, Bart Spanhove, Faculty: Marilyn Carlson, director; July 10-17 Nina Stern, Joris Van Goethem, Paul Martha Bixler, Stewart Carter, Judith Baroque Academy* Van Loey, Tom Zajac. Davidoff, Eric Haas, Peter Ramsey, Recorder Boot Camp* Tuition $535+; Room & Board $160+ Majbritt Young Christensen, James July 17-24 Contact: Marilyn Boenau, Young. All facilities are air-conditioned. Virtuoso Recorder* Director, or Alastair Thompson, Tuition: $375; Room & Board $400 Recorder Seminar* Administrator, P.O. Box 229, (double occupancy), $595 (single) *Audition required. Deadline: May 15 Arlington, MA 02476; Contact: Marilyn Carlson, 781-488-3337 (day); www.amherstearlymusic.org 1008 Afton Road, Columbus, OH 408-547-1464 (fax); 43221-1680; 614-754-7233; [email protected] [email protected]; [email protected]; (781) 488-3337 amherstearlymusic.org mideastearlymusic.addr.com

18 March 2011 American Recorder 3 CEUs $50; private lessons $25 each. INTERNATIONAL BAROQUE WINDSWEPT MUSIC WORKSHOP Contact: Dr. Jane Andrews, INSTITUTE AT LONGY William Jewell College, Liberty, MO 7512 Meadow Creek Dr., Fort July 24-29 Longy School of Music, Worth, TX 76123; 817-292-3816; Cambridge, MA Director: Dr. Jane Andrews [email protected]; July 22-31 Strengthen the mind/body connection at creativemotion.org Directors: Paul Leenhouts, Creative Motion Alliance’s 60th annual Phoebe Carrai conference. Professional musicians, con- RECORDER AT THE CLEARING Le Parnasse François: Music during the ductors, teachers, students and amateur The Clearing, Ellison Bay, WI Reign of Louis XIV. Faculty: Paul Leen- music enthusiasts will discover barriers July 24-30 houts, recorder; Phoebe Carrai, ’cello; that inhibit the free flow of energy and Directors: Pat Badger, Ricard Bordas, voice; Sarah Cunning- learn the secrets of inner-directed artistic Adrianne Paffrath ham, viola da gamba; Arthur Haas, music-making. Using movement, exer- Recorder ensemble has been a tradition harpsichord; Manfredo Kraemer, violin; cises, analysis and body responses, at The Clearing for over 25 years. Each Ken Pierce, historical dance; Gonzalo explore music and energy in a unique day begins with a warm-up of voices and Ruiz, oboe; Jed Wentz, traverso. intergenerational format. Piano, voice, bodies as we sing rounds and ready our instrumental music, expressive arts and Tuition: $675 (work-study available); muscles for performance. Room & Board $480-640 (single independent study. Master class coach- Daytime sessions focus on rhythmic occupancy). Hospitality available. ing and conducting opportunities. challenges, recorder technique and Tuition: $345 (includes $50 registration Contact: Karen Burciaga, Assistant ensemble blend; emphasis is on growth, fee due 5/15/11); Room & Board $240 Registrar, One Follen St., Cam- process and, most of all, enjoyment. (double occupancy); $315 (single). bridge, MA 02138; 617-876-0956 To participate fully, you need at least Member, family, student (age 12-18) X1575 (day); 617-876-9326 (fax); intermediate skills on a C or F recorder. [email protected]; discounts. Commuter $400 (includes longy.edu lunch & dinner). Graduate credit $225; Adrianne Paffrath coached on recorder with ARS teachers. She is music director at Racine’s First Presbyterian Church. 2EHUOLQ&RQVHUYDWRU\RI0XVLF Patricia Badger has studied early music instruments, natural and classical SUHVHQWVWKHWK trumpet. She is performing arts head %DURTXH3HUIRUPDQFH,QVWLWXWH of The Prairie School. Jointly, they have performed for Medieval festivals, -XQH-XO\ grape stompings, Shakespeare ´%DFNWR%DFKµ celebrations and a circus parade. IHDWXULQJDSHUIRUPDQFHRI%DFK·V6W0DWWKHZ3DVVLRQ Cost: $890 (double occupancy); $1250 (single, limited availability) .HQQHWK6ORZLN$UWLVWLF'LUHFWRU ZLWKWKH2EHUOLQ%DURTXH(QVHPEOH Contact: The Clearing, PO Box 65, Ellison Bay, WI 54210-0065; 0LFKDHO/\QQUHFRUGHU WUDYHUVR &DWKDULQD0HLQWVYLRO FHOOR 877-854-3225; 920-854-9751 0DULO\Q0F'RQDOGYLROLQ (fax); [email protected]; :HEE:LJJLQVKDUSVLFKRUG RUJDQ theclearing.org

DQGDQLQWHUQDWLRQDOIDFXOW\LQFOXGLQJ SAN FRANCISCO EARLY MUSIC SOCIETY CHILDREN’S MUSIC &KULVWRSKHU.UXHJHUWUDYHUVR UHFRUGHU DISCOVERY WORKSHOP (ARS) *RQ]DOR5XL]DQG0DUF6FKDFKPDQRERH 'RPLQLF7HULVLEDVVRRQ Crowden Center for Music, Berkeley, CA REHUOLQHGXFRQVXPPHUESLRFESL#REHUOLQHGX July 31-August 1 (day camp) :&ROOHJH6W2EHUOLQ2+ Director: Letitia Berlin Explore the music and culture of the Renaissance in 15th century Italy with our guide Leonardo da Vinci, www.AmericanRecorder.org March 2011 19 the Renaissance man! Early music and engaged and challenged, and beginners MONTRÉAL RECORDER FESTIVAL Renaissance social history for children are always made welcome. If you’ve and youth ages 7 to 15; beginners to never played a musical instrument (but McGill University, advanced students welcome. Instruction wish you could), or if you studied music Montréal, QC, Canada includes chamber music, musicianship, years ago (and fear you’ve forgotten September 15-18 Renaissance dance, crafts, costume- everything), there are classes for you. Directors: Matthias Maute, Sophie Larivière making and games. Friday night theater Introductory classes in recorder and project presentation and student recital, viol. Advanced and intermediate players Guest artists Piers Adams (UK) and with a delicious potluck feast. and singers have a wide array of classes Judith Linsenberg (U.S.). Featuring recorder faculty Louise from which to choose, led by an out- In our 10th year, we again explore the Carslake and Letitia Berlin. Other standing and dedicated faculty of pro- riches of our preferred instrument and faculty: Ron McKean, harpsichord; fessionals and acclaimed teachers of unveil its often unexpected and diverse Carla Moore, violin; Farley Pearce, early winds (recorders, reeds, brass), capabilities. Concerts of various musical ’cello and viola da gamba; Allison strings (viols, violin), harpsichord and styles, workshops, master class, lecture. Rolls, theater project. voice. Recorder faculty: Sheila Beards- Contact: 514-523-3611; Please note that this is a day camp. Out- lee, Wayne Hankin, Joan Kimball, [email protected]; of-town students may request Joseph Lewnard, Pat Petersen, Tricia ensemblecaprice.com accommodations with host families; van Oers, Peggy Vermilya, Bob contact the director. Wiemken. HIDDEN VALLEY INSTITUTE FOR THE ARTS Cost: $400 ($430 after May 2), family Early Music Week continues its long discounts, some financial aid available. tradition of superb teaching in a warm EARLY MUSIC ELDERHOSTEL and welcoming community, enhanced by Contact: Letitia Berlin, SFEMS, Carmel Valley, CA special events, presentations, concerts— PO Box 10151, Berkeley, CA October 30-November 5 and, of course, dancing. 94709; 510-559-4670; November 6-13 [email protected]; Cost: $890 Directors: Letitia Berlin, workshop; sfems.org Contact: Steve Howe, Country Peter Meckel, HVIA Dance and Song Society, Enroll for one or both weeks. Adults of EARLY MUSIC WEEK AT PO Box 338, Haydenville, MA all ages welcome. Recorder technique, PINEWOODS CAMP (ARS) 01039-0338; 413-268-7426 X3 viol consort, Baroque chamber music, Pinewoods Camp, Plymouth, MA (day); 413-268-7471 (fax); consort classes for Medieval, Renais- August 13-20 [email protected]; cdss.org/em sance, Baroque and contemporary Director: Sheila Beardslee repertoire, workshop orchestra. A la mode de France. Advanced musicians Week I: intense classes for upper can work intensively, amateurs are intermediate to advanced levels. Faculty: Farallon Recorder Quartet (Annette Bauer, Tish Berlin, Frances Blaker, Louise Carslake); viola da gamba TBA Week 2 faculty: Tish Berlin, Frances Blaker, TBA, recorder; David Morris, gamba; Shira Kammen, early strings. Evening events include faculty concert, student concert, free-lance playing. Free Wednesday afternoon for more playing or sightseeing. Improve your playing in a supportive, friendly atmosphere with world-class teachers. Contact: Peter Meckel, PO Box 116, Carmel Valley, CA 93924; 831-659-3115; 831-659- 7442 (fax); [email protected]; hiddenvalleymusic.org 20 March 2011 American Recorder Book Reviews ______Performance without Pain PERFORMANCE WITHOUT themselves the PAIN: A STEP-BY-STEP NUTRI- Playing a musical instru- soundness of the TIONAL PROGRAM FOR ideas presented, HEALING PAIN, INFLAMMA- ment or singing is in especially when TION AND CHRONIC AIL- many ways an unnatural they touch on MENTS IN MUSICIANS, controversial sub- ATHLETES, DANCERS…AND use of the body, and jects such as the EVERYONE ELSE, BY KATHRYNE consumption of PIRTLE WITH SALLY FALLON. New even careful attention raw milk. Trends Publishing, Inc. (Washington, In any case, D.C.), 2006. 132 pp. Paperback. to good health and the discussion raises important issues ISBN 0-9670897-7-8. $15.95. concerning nutrition and contemporary Many musicians, especially profes- muscle conditioning ways of thinking about food. It may sional musicians, find that some degree may in many cases only well be of some assistance for those of pain or discomfort is an inevitable experiencing a variety of health part of their lives. Playing a musical delay the inevitable. problems. instrument or singing is in many ways Scott Paterson an unnatural use of the body, and even derived from seafood, animal proteins careful attention to good health and and fats, legumes, nuts, seeds, vegeta- muscle conditioning may in many cases bles, fruits and whole grains taken in only delay the inevitable. Some unlucky their natural, unrefined state. performers even experience debilitating He emphasized that a well-main- conditions that threaten their careers. tained digestive system is necessary to Such was the situation that faced extract the nutrients from food and to Kathryne Pirtle, a busy freelance clari- keep the rest of the body in balance and netist and educator in the Chicago (IL) allow it to heal itself. Pirtle followed area. Throughout her career, she had Price’s principles, found modern experienced pain and inflammation as sources for these foods and, over the well as digestive disorders until, at the course of about 18 months of disciplined age of 45, her condition became so lifestyle changes, returned to health. severe that she thought she might In the course of the book, Pirtle and have to give up playing. Sally Fallon, president of the Weston A. It was at that point that she made Price Foundation, outline the science the connection between the digestive underlying these dietary principles, the system and inflammation in the rest of differences between modern and tradi- the body, through exposure to the work tional diets, and practical ways to imple- of Dr. Weston Price. ment Price’s tenets. As with all such Price, a dentist, had done research books, readers will need to judge for in the 1930s into the diets of 14 healthy populations untouched by modern civi- lization, from isolated Swiss to Peruvian Indians. He found that the food they ate was rich in vitamins and minerals, especially vitamins A and D, principally

www.AmericanRecorder.org March 2011 21 Opening Measures ______The Art of Practicing By Frances Blaker, for what you are doing, and make sure I have a lot to say about various [email protected] you have good hand position and aspects of practicing and how you can posture.) get the most from your time, which is ou are a recorder player. You Five minutes of thoughtful, well- especially important for those of you Yshould practice—but why, and directed, focused, gentle (using no who lead very busy lives—you need how? Often figuring this out is some- more muscle power than needed) to squeeze every drop of golden good- thing players learn “by guess and by practice are more effective than an ness out of every minute of practice gosh.” hour of bad practice. Or, to expand time. Because I have a lot to say, and The point of practicing is not to on this idea, an hour of thoughtful since there are many areas to consider, perfect some particular piece of music. practice is more effective than hours in this column I will only be able to Perfection is a static state, while music of bad practice. Why waste your time? address the basics of practicing. by its very nature continually changes. My years of playing, teaching What is perfect now may be imperfect The act of making music and thinking have taught me that later simply because your intentions practicing must: for that passage have changed. is more satisfying if you · Be interesting One practices an art or a disci- can make the sounds · Be effective, so that small pline in order to make that art or disci- increments of progress can pline part of one’s daily life. In the you want to hear. be detected right away process, one becomes very good at · Be varied, in order to maintain various aspects of that art or discipline Besides, bad practicing is really your motivation and avoid by practicing it—every day, or, at least, boring, while the art of good practic- boredom more days than not. ing will not only improve your playing, · Fit into your way of being— In music, practice has a bad but will give you continual food for different people practice in reputation. The general idea out there thought. You will develop mentally as different ways. is that, in order to count as practice, well as in your playing—and in these Practicing must train your: it must be long and hard. One must days of concern about aging brains, · muscles practice endless hours of mindless that’s very good news. · ear (as in your Musical Ear) exercises, or else one has not really If you enjoy playing your instru- · perception and attention, which worked. One must be exhausted at the ment, you will also enjoy the process together constitute listening end of a session, or it does not count. of improving your recorder and musi- · mental focus Practice makes perfect, the old cianship skills. There’s nothing like · musical understanding and adage says, but in truth it should say: the sense of accomplishment when you knowledge. Correct practice makes pretty close to know you’ve worked well on a difficult Keep these points in mind as you perfect. piece—and it pays off in performance practice. Ask yourself if what you are First, if you practice inefficiently, (whether that performance is for an doing in your practice sessions fills at you will make little progress—no audience, for your teacher, for your least one of the top four qualities, and matter how many hours you put in. cat, or even just for yourself). The act trains at least one of the next five areas. Furthermore, if your goal is only to of making music is more satisfying if expend great effort, you will merely you can make the sounds you want to Basic practice plan wear yourself out—even literally, since hear—and that is the purpose of prac- First, you must know that most people bad muscle use can lead to tendonitis ticing. If you also want to be able to learn best and make the most improve- and eventually to destruction of your play faster than your fellow consort ment if they do not spend too much hands. (To avoid this, never use more members, or rise in workshop time on any one specific thing. As soon muscle power than actually necessary rankings, etc., that’s fine too. as you notice your mind wander or

22 March 2011 American Recorder your focus waver; as soon as you notice the first hint of new mistakes cropping ARS Membership Enrollment and Renewal ‰ I am a new member ‰ I am or have been a member up; as soon as you feel the minutest foreshadowing of frustration: you SILVER Membership US/Canadian - $45 one year/$80 two years PLATINUM Lifetime Membership must move on to something else, or Foreign - $55 one year/$100 two years U.S./Canadian - $800 Loyalty* rate ($600 is tax at the very least, take a new tack on Additional Benefits deductible) x Education Level Discounts on Sibelius & Additional Benefits what you have been practicing. Finale Music Notation Software x Free ARS T-Shirt Don’t just drive a piece of music x 10% ARS Store Discount x Free 2GB ARS Thumb Drive x Free Hotteterre Pin into the dust. Come at it from many Dual $5 - Dual Other Name or Other Address: x Education Level Discounts on Sibelius & angles, focusing now on technique, Family members residing at the same address may Finale Music Notation Software share a non-student membership. For an additional x 20% ARS Store Discount listing under different surnames at the same address, now on phrasing, now on tone, now *For members who have maintained membership for 5 or dual addresses (summer/winter, home/school, etc.) consecutive years. on speed, and so on—or move on to add $5 to your membership amount. the next piece. STUDENT Membership (attach proof) GOLD Membership U.S./Canadian student - $25 No matter how much or how little US/Canadian - $150 ($91 is tax deductible) Foreign student - $30 x Free 2GB ARS Thumb Drive time you have, divide your practice BUSINESS Membership - $125 session into three sections: Technique; x Free Hotteterre Pin WORKSHOP Membership - $65 x Education Level Discounts on Sibelius & Music; and Anything Goes. Finale Music Notation Software Technique includes exercises you x 15% ARS Store Discount  do for very specific skills, both as a ‰ Do not list my name on the ARS Online Directory warm-up and to improve your abili- ‰ Do not release my name for recorder related mailings ‰ Do not release my email address for any purpose ties. Include at least one exercise each ‰ Do not contact me via email. for blowing/breathing, for finger ‰ My address, telephone and email address have not changed. action, and for articulation (tonguing). This section can also include etudes ______Name Phone Number and studies—pieces of music specially ______written to develop certain techniques. Address/City/State/Postal Code Email Address The Music section covers all the Please charge to: (Circle one) VISA/MasterCard/AMEX/Discover music you are currently working on: CC#:______Expiration Date: ______assignments from your teacher, for example to master the notes of an Signature of cardholder:______Allegro; to work up your speed in a Clearly Print Name as it appears on Card:______difficult batch of 16ths; to figure out Renew by Mail, Online, By Phone or by Fax where to breathe in an Adagio; to I am a member of ARS Chapter or Consort______‰ I am the Chapter Contact come up with your own ornamenta- Demographic Information tion, and so on. During this part of (optional information collected only to enhance ARS services and provide statistics to grant makers): practice, you will generally focus your ______efforts on mastering or improving My age: ‰ Under 21 ‰ (21-30) ‰ (31-40) ‰ (41-50) ‰ (51-60) ‰ 61-70) ‰ (71+) ______some aspect of a piece of music. You may also want to play a whole piece ‰ I am a Professional Recorder Performer. ______through to see how well you do, and ‰ I wish to be included in the list of Recorder Teachers in the ARS Directory and website. then focus on weak areas. I Teach: (circle your choices) Anything Goes includes sight- Student Level: Children High School Youth College Students Adults reading, playing just for fun, noodling Playing Levels: Beginner Intermediate Advanced Pre-Professional Types of Classes: Individuals Children’s Classes Adult Classes Ensembles around, picking out tunes by ear, Certifications: Suzuki Orff JRS Leader Kodaly improvising, and anything one is normally “not supposed to waste time Where I Teach: : (circle your choices) Music Studio Public or private school Community Music School on” in the traditional idea of practice. College Other : ______It’s just as important as the other  American Recorder Society Phone: 314-966-4082 sections and is vital to maintaining Fax: 314-966-4649 your sense of joy and imagination in 1129 Ruth Dr. TollFree: 800-491-9588 St. Louis MO 63122-1019 [email protected] your playing. www.AmericanRecorder.org www.AmericanRecorder.org March 2011 23 American Recorder Society Publications None of these sections should be left out. Each one will help you learn Musical Editions from the Members’ Library: ARS members: 1 copy-$3, 2 copies-$4.50, 3-$6, 4-$7.50, 5-$10, 6-$11.50 more about your instrument and Non-members (editions over 2 years old): 1 copy-$5, 2 copies-$8.50, 3-$12, 4-$15, 5-$19.50, 6-$23 improve your playing—even the last Arioso and Jazzy Rondo (AB) Carolyn Peskin Little Girl Skipping and Alouette et al Berceuse–Fantaisie (SATB) Jean Boivert (SATBcB) Timothy R. Walsh section, which is a very important aid Bruckner’s Ave Maria (SSATTBB) Los Pastores (S/AAA/T + perc) in keeping your music-making fresh Jennifer W. Lehmann, arr. Virginia N. Ebinger, arr. Canon for 4 Basses (BBBB) David P. Ruhl New Rounds on Old Rhymes (4 var.) and in counterbalancing any sense of Dancers (AT) Richard Eastman Erich Katz Different Quips (AATB) Stephan Chandler Other Quips (ATBB) Stephan Chandler drudgery you may feel in practicing. Elegy for Recorder Quartet (SATB) Poinciana Rag (SATB) Laurie G. Alberts You may, and should, vary the Carolyn Peskin Santa Barbara Suite (SS/AA/T) Erich Katz Elizabethan Delights (SAA/TB) Sentimental Songs (SATB) David Goldstein, arr. relative lengths of these three sections Jennifer W. Lehmann, arr. Serie for Two Alto Recorders (AA) Fallen Leaves Fugal Fantasy (SATB) Frederic Palmer from day to day. This enables you to Dominic Bohbot Slow Dance with Doubles (2 x SATB) focus more in depth on something one Four Airs from “The Beggar’s Opera” (SATB) Colin Sterne Kearney Smith, arr. Sonata da Chiesa (SATB) Ann McKinley day, while also keeping your playing Gloria in Excelsis (TTTB) Robert Cowper S-O-S (SATB) Anthony St. Pierre Havana Rhubarb Rhumba (SATB up to Three Bantam Ballads (TB) Ann McKinley and attitude fresh and energized. 7 players) Keith Terrett Three Cleveland Scenes (SAT) Carolyn Peskin If you simply hate exercises, you Idyll (ATB) Stan McDaniel Three in Five (AAB) Karl A. Stetson Imitations (AA) Laurie G. Alberts Tracings in the Snow in Central Park (SAT) should keep Technique brief, but In Memory of Andrew (ATB) David Goldstein Robert W. Butts In Memory of David Goldstein (SATB) Trios for Recorders (var.) present. Don’t skip it. Will Ayton George T. Bachmann Lay Your Shadow on the Sundials (TBgB) Triptych (AAT/B) Peter A. Ramsey On the other hand, if you like Terry Winter Owens Two Bach Trios (SAB) William Long, arr. exercises but detest playing around, Leaves in the River (Autumn) (SATB) Two Brahms Lieder (SATB) Erik Pearson Thomas E. Van Dahm, arr. make Technique longer and keep LeClercq’s Air (SATB) Richard E. Wood Variations on “Drmeš” (SATB) Martha Bishop Vintage Burgundy (S/AS/ATT) Anything Goes very short—but still Jennifer W. Lehmann, arr. do it. Play Twinkle Twinkle Little Star ARS Information Booklets: by ear, then you are off the hook. ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 Make up one ornament. Sight-read Non-members: 1 booklet-$18, 2 booklets-$33, 3-$44, 4,$55, 5-$66, 6-$76, 7-$86 *Free online to ARS members one little minuet. You get the picture. Adding Percussion to Medieval and Improve Your Consort Skills Susan Carduelis Finally, a word about personal Renaissance Music Peggy Monroe Music for Mixed Ensembles *American Recorder Music Constance Primus Jennifer W. Lehmann practice styles and mental focus: some Burgundian Court & Its Music *Playing Music for the Dance Louise Austin Judith Whaley, coord. *Recorder Care Scott Paterson people find it natural to practice for an hour or two at one sitting, while others Education Publications Available Online for Free to Members just don’t like to be still for that long, The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). or find their minds wandering. You Guidebook to the ARS Personal Study Program (1996). ARS Music Lists. Graded list of solos, ensembles, and method books. need to discover whether you work best in one longer stretch, or in a Videos Available Online to All number of shorter sessions spread Recorder Power! Educational video from the ARS and recorder virtuoso John Tyson. An exciting throughout the day. resource about teaching recorder to young students. Pete Rose Video. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Once you find your best way of Festival recital. Features Rose performing a variety of music. and an interview of him by ARS member professional John Tyson. working, schedule your practice time accordingly. Some people hate to Other Publications schedule things, and just want to prac- Chapter Handbook. A resource on chapter operations for current chapter leaders or those consider- tice when the desire overtakes them. If ing forming an ARS chapter. ARS members, $10; non-members, $20. One free copy sent to each ARS chapter with 10 members or more. you are that sort of person, you should Consort Handbook. Available for Free to Members Online. have a practicing station where you can Resource on consort topics such as group interaction, rehearsing, repertoire, performing. keep your music stand set up, your music handy and your instruments Shipping & Handling Fees: Under $10 - add $3; $10-19.99 - add $4; $20-29.99 - add $5; $30-39.99 - add $6; $40-49.99 - add $7. All prices are in U.S. dollars. For Canadian or foreign postage, ready, so as to be able to jump right pay by credit card and actual postage is charged. Please make checks payable to ARS. VISA/MC/AMEX/Disc also accepted. in as you pass by. As you practice with fresh energy See www.AmericanRecorder.org for complete publication offerings, for sale and free to members. and new enthusiasm, I wish you ARS, 1129 Ruth Drive, St. Louis, MO 63122 U.S. Happy Practicing! Work hard, but 800-491-9588 work well—and don’t forget to play. [email protected]

24 March 2011 American Recorder On the Cutting Edge ______Jazz Recorder Tales (continued) By Tim Broege, [email protected] search for “Benoît Sauvé” to enjoy these remarkable videos. Play-along materials like ’m grateful to Ken Andresen for I am reminded of my own youth- Icalling attention to some YouTube ful practicing with “Music Minus Music Minus One, videos featuring Benoît Sauvé. In the One” records back in the early 1960s. videos Sauvé plays recorder along Those records contained well-pro- though designated for with jazz solos by John Coltrane, Clif- duced rhythm section tracks—guitar, flute, are readily ford Brown, Pat Metheny, Michael piano, bass, drums—featuring top- Brecker and others. It’s clear he has notch jazz professionals. The records adaptable for recorder. mastered these intricate improvisations came with lead sheet arrangements and has no trouble with the tempos. (the melody, with chord symbols that along with the records using my What a great way to practice! And are used to create an accompaniment) soprano recorder. I hadn’t imagined his recorder (which looks like an alto) that were (usually) easy to follow. that a recorder could play jazz! sounds like a perfectly idiomatic jazz I was a struggling trumpet player But guess what? Music Minus instrument. Evidently Sauvé tran- trying to master the fundamentals of One recordings are still available. You scribed the solos himself. The result jazz playing, and the Music Minus can “google” “Jamey Aebersold jazz” is convincing: bebop (or “post-bop”) One records were a big help. Many to find one of the best sources for jazz solos sounding very much at home on of my friends used them. And yet, it materials. Play-along materials like his recorder. Visit YouTube.com and never occurred to me to try playing Music Minus One, though desig- The Von Huene Workshop, Inc. is pleased to announce agreements with 7KH7 Coolsma Zamra to serve as their authorised service agents in the U.S.

For more than 40 years, the von Huene Workshop has produced some of the finest recorders in the world. Our skilled staff can revoice, retune and repair even the most seriously damaged instruments. All repairs are done right on the premises, and most can be completed within a week. For warranty repairs, please include a copy of your original sales receipt.

65 Boylston Street, Brookline, MA 02445 (617)j 277-8690 Fax (617) 277-7217 [email protected]

www.AmericanRecorder.org March 2011 25 nated for flute, are readily adaptable movement). If you can, put together recorder. Jazz is such a wonderful for recorder. There are many books your own rhythm section (or use musical language! of transcriptions available as well as “Band-In-A-Box” on your computer): “how to” methods for jazz improvisa- bass and drums are all you need, but tion, and I highly recommend them. it’s nice to have a guitar and/or piano. I’m including above my own I think it works best at a medium Sapientology, a “blues with a bridge”— swing tempo. Octave transposition is 12-bar blues followed by an 8-bar perfectly fine. I usually play it on alto bridge, then recapitulation of the recorder, mostly up an octave, but Honeysuckle Music   12-bar section—which I hope can jumping down when the high F /G serve as an example of bebop melodic makes things a little awkward. The Recorders & accessories material over traditional bop harmonic tune is more of a challenge on ... patterns. I used this tune in my large- soprano/tenor, but please feel free Music for recorders & viols scale elegy composed in memory of to make your own arrangement of it. the great jazz bassist and composer, And don’t be afraid to learn your Jean Allison Olson 1604 Portland Ave. Charlie Mingus. favorite jazz solos—Miles Davis, St. Paul, MN 55104 Learn the tune slowly, then have Lester Young, Charlie Parker, etc.— 651.644.8545 fun improvising on the changes (chord either by ear or through transcription, [email protected] and then work them up on your 26 March 2011 American Recorder Compact Disc Reviews ______Off the beaten path ______with recordings by two Bay Area groups

THE LOST MODE. ANNETTE recorder world (e.g., Havun Hayun). BAUER, RECORDERS, SARODE; SHIRA The energy of [The Lost Likewise, the variety encompasses KAMMEN, VIELLE, HARP, VIOLIN Mode’s] approach lively and slow tempi. D’AMORE; PETER MAUND, PERCUS- comes through, yielding A crucially important element in SION; DEREK WRIGHT, OUD. The the balance is the collaborative nature Lost Mode, 2010, 1 CD, 70:34. Avail- a collection that will of The Lost Mode project. While able from CD Baby ($13.99 for CD, appeal to multiple (often Bauer’s recorder playing stands out, it $9.99 for mp3 download) and Magna- overlapping) audiences. also works so well here because of the tune. www.cdbaby.com/cd/lost excellent musicianship of Kammen, mode and magnatune.com/artists/ development. Insights from projects Maund and Wright. We are fortunate in the_lost_mode (n.b., CD tracks such as The Lost Mode can be enjoyed California’s Bay Area to have over- Ekihaizea “The East Wind” and Kabylia as experimentation toward a richer lapping communities in “folk,” “world,” are not available at Magnatune) understanding of all modal music prac- and “early” music. These musicians Continuing a growing trend in the tice. The energy of the approach comes and this recording give the rest of the recorder world, Annette Bauer joins through, yielding a collection that will world a glimpse of this vital scene. with colleagues in early music and world appeal to multiple (often overlapping) The presence of Kammen (a favor- music endeavors in an ear-catching col- audiences: lovers of Medieval European ite teacher in various workshops, as well lection of music from Medieval Europe music, and traditional Armenian, North as a noted performer) and Maund and sonically related cultures. Rather African, Breton, Turkish, Greek and (another fine teacher who mesmerized than grasping at the often speculative Sephardic dance traditions. listeners at the 2009 ARS Festival and historicity of Medieval instrumental The recording provides a lovely Conference) deserve particular mention. performance practice, The Lost Mode stereo image of the performers, with a Their presence connects the newer plays with the connections among satisfying presence for all of the instru- generations of musically adventurous rhythms and modes of cultures across ments. The repertory balances familiar early music players to times not long several centuries and countries. tunes (e.g., La Spagne and Landini’s Per ago, when the whole field of historically- Efforts at historically-informed Allegreçça) with ones less-known in the informed performance struggled for a performances of Medieval instrumental music deserve support and continued Provincetown Bookshop Editions Each CD review contains a header with some or all of the following information, as available: disc title; composer (multiple “GO FOR NEO-BAROQUE!” composers indicated in review text); name(s) of ensemble, conductor, per- Andrew Charlton: Partita Piccola. For 4 Recorders (SATB) former(s); label and catalog number (dis- tributor may be indicated in order to help [Prelude; Allemande; Courante; Musette— your local record store place a special a neo-baroque epitome!] (Score & Parts, PBE-25) . . . . . $7.95 order; some discs available in the ARS CD Club are so designated); year of issue; total Andrew Charlton: Suite Moderne. For 3 Recorders (ATB) timing; suggested retail price. Many CDs [Baroque shapes but Hindemithian harmony] are available through such online sellers as (3 Playing-Scores, PBE-44) ...... $9.95 www.towerrecords.com, www.cdnow.com, www.cdbaby.com, www.amazon.com, etc. Southwest of Baroque. David Goldstein’s “baroque Suite” Abbreviations: rec=recorder; dir= on Cowboy Songs. For 2 Recorders (SA) (PBE-2) . . . . . $3.50 director; vln=violin; vc=violoncello; vdg=viola da gamba; hc=harpsichord; A good source for Recorder & Viol Music of all publishers. pf=piano; perc=percussion. Multiple reviews by one reviewer are followed by The Provincetown Bookshop, Inc. that reviewer’s name. 246 Commercial Street, Provincetown, MA 02657 Tel. (508)487-0964

www.AmericanRecorder.org March 2011 27 place in the art music world. I hope to the Isles (a wonderful pun), hearkens use the possibilities for varied instru- hear more from The Lost Mode. back to the late 17th and early 18th mental color extremely well, even to Tom Bickley centuries in Britain, an era when polite the extent of employing tin whistle society had a fascination for the artistic and Baroque guitar in some numbers. DANCING IN THE ISLES: productions of its near neighbors in the This is definitely an album that can be BAROQUE AND TRADITIONAL villages of Scotland and Ireland. listened to with pleasure from beginning MUSIC FROM ENGLAND, The recording includes three sets to end, even at a generous 75 minutes. SCOTLAND, AND IRELAND. of traditional tunes—one each from The arrangements of the folk MUSICA PACIFICA (JUDITH LIN- England (by way of John Playford’s material are very much in the style of SENBERG, DIR., RECORDER AND TIN collection, The English Dancing Master), traditional folk bands, including plenty WHISTLE; ELIZABETH BLUMEN- Scotland, and Ireland. Some are of natural sounding ornamentation. STOCK AND ROBERT MEALY, arranged by violinist Elizabeth Blumen- The performances do not have quite BAROQUE VIOLIN; DAVID MORRIS, stock, and some by the group as a whole. the abandon displayed by the best tradi- BAROQUE ‘CELLO AND VIOLA DA There are pieces by James Oswald tional groups, but Musica Pacifica’s GAMBA; CHARLES SHERMAN, HARP- and Francesco Veracini that are based precision and careful pacing are quite SICHORD; CHARLES WEAVER, directly on folk material, and pieces by effective in their own way. This care is THEORBO AND BAROQUE GUITAR; Matthew Locke (from the Broken Con- also felt in the other pieces on the disc PETER MAUND, PERCUSSION). sort), Nicola Matteis (from the first which, paradoxically, seem to be more Solimar CD101, 2010, 1 CD, 75:17. book of Ayres for the Violin), and Henry freely felt as well. $15.99 (available via www.musica Purcell (Three Parts upon a Ground), as The only miscalculation is the pacifica.org and magnatune.com) well as some anonymous masque tunes, performance of the Purcell Three Parts Although curiosity about other which share some of the eccentric energy upon a Ground with a mixed group of cultures has come into fullest fruition of the traditional material. two violins and recorder. Purcell’s many in our own time, it has always been a Musica Pacifica is here composed intricate contrapuntal procedures unite part of the human character. Musica of recorder, two violins, ’cello, harpsi- the three upper parts so thoroughly that Pacifica’s latest recording, Dancing in chord, theorbo and percussion. They the piece makes the most sense when

... are also available at The Early Music Shop of New England, Brookline, MA

AESTHÉ 367-b de la Briquade Blainville, Québec Canada J7C 2C7 tel: (450) 979-6091 www.boudreau-flutes.ca

28 March 2011 American Recorder ...an album that can be listened to with pleasure Order your from beginning to end. recorder discs played on similar instruments. In every other way, though, the performance is through the nuanced and insightful. The recorded sound is a bit closer and drier than usual, but it seems to suit ARS CD Club! the material admirably. Violinist Robert The ARS CD Club makes hard-to-find or limited release Mealy’s notes provide a detailed CDs by ARS members available to ARS members at the background to the program. special price listed. All CDs are $15 ARS members/ Scott Paterson $17 Others unless marked otherwise. Two-CD sets are $24 ARS members/ $28 Others. Add Shipping and Handling: $2 for one CD, $1 for each additional CD. SWEETHEART An updated list of all available CDs may be found at: www.americanrecorder.org. FLUTE CO. NEW!

Baroque Flutes: our own ____ CONCORDI MUSICI: SCARLATTI, MANCINI, VIVALDI “Sweetheart” model Leonard Kwon, recorder; Rebecca Huber & Tomasz Plusa, violin; Ji Yun Kang, ’cello; Fifes, Flageolettes Josep Casadellà, bassoon; Cristian Gutiérrez, guitar & theorbo; Edoardo Valorz, “Irish” Flutes & Whistles. harpsichord. The first project of Concordi Musici features chamber music between Napoli Send for brochure and/or and Venezia. This includes the most beautiful Italian concertos with solo recorder, which antique flute list. were played during the Utrecht Oudemuziek Festival 2010. Audioguy, 2010. ____ BARSANTI RECORDER SONATAS Vicki Boeckman, recorder;Jillon Stoppels Dupree, harpsichord; Joanna Blendulf, 32 South Maple Street Baroque ’cello. Sonatas for Recorder and Basso Continuo from the 1724 edition. Enfield, CT 06082 Ensemble Electra, 2010. (860) 749-4494 ____ A DUO: RECORDER DUETS FROM THE EARLY AND LATE BAROQUE [email protected] Vicki Boeckman & Dorte Lester Nauta, recorders. Boeckman and Nauta liberate www.sweetheartflute.com themselves from the continuo players from Opus 4 to present some of their favorite duets. They play some early works by John Baldwine, Thomas Morley, Jan Pieterszoon Sweelinck, Gastoldi and Van Eyck along with later Baroque duets by Telemann and Hotteterre le Romain. ClassCD, 2003.

NEARLY NEW! ____THE LOST MODE Annette Bauer, recorders; Shira Kammen, vielle, harp, violin; Peter Maund, percussion, Derek Wright, oud. Melodies from Sephardic, North African, Armenian, Breton & Basque Lost in Time Press modal traditions. New works based on Medieval models, next to century-old counter- parts. Multi-layered, time- and boundary-crossing collection of tones, timbres, textures, lovingly held together by the common thread of mode. 2010. New works and ____DANCING IN THE ISLES arrangements Judith Linsenberg, recorders, whistle. Musica Pacifica’s newest CD, mixing their own arrangements of traditional tunes from Scotland, Ireland and England—toe-tapping Celtic for recorder ensemble reels and jigs to melancholy instrumental ballads and English country dances. Sonata on Scots Tunes by James Oswald, Veracini, Purcell’s Three Parts on a Ground, and a cheeky sonata by Matthew Locke. Musica Pacifica’s customary high energy and superb Compositions by musicianship. Solimar, 2010. Frances Blaker Please indicate above the CDs you wish to order, and print clearly the following: Paul Ashford Hendrik de Regt Name:______Daytime phone: (____) ______and others Address: ______City/State/Zip:______single CDs x $____ = $______2-CD sets x $____ = $______Inquiries: Shipping/Handling: $2 for one CD, $1 for each additional CD $______Corlu Collier _____ Check enclosed for TOTAL $______PMB 309 _____ Please charge the above amount to my MasterCard, Visa or AmEx: #______2226 N Coast Hwy Exp. Date: ______Cardholder’s signature:______Newport, Oregon 97365 www.lostintimepress.com [email protected] Mail to: ARS, 1129 Ruth Dr., St. Louis, MO 63122-1019 U.S. Fax a credit card order to 314-966-4649.

www.AmericanRecorder.org March 2011 29 Music Reviews ______In-depth looks at a teaching resource, ______on the street and on the train with jazzy pieces SOMETHING JAZZ FOR MIS- and intense forward motion. It does not Moon will delight at the first 224 bars of TER PAUL BY ALBERTO BONACINA. have a strong melodic profile, but there the work, which feature an exhilarating Ut Orpheus Edizioni FL9 (www.utor is a constant variety of rhythm and tex- and virtuosic through-composed bebop  pheus.com), 2009. SAT or 2 B clari- ture, and the three parts are frequently solo based on the song’s chord changes. nets & bass clarinet. Sc 9 pp, pts 3 pp ea. quite independent of one another. I was very fortunate to delve Abt. $26. There are many detailed dynamic into Moondust in 2008, when McGill As readers of American Recorder markings, including occasional indica- University’s recorder consort (then know well, our instrument is no stranger tions of which line is meant to stand out including Ji-Sun Kim, Vincent Lauzer, to jazz. Expert recorderists can be as as a solo, which are difficult to realize Rebecca Molinari, Alexa Raine–Wright evocative in the style as players of more fully on recorders. A performance on and me) prepared and performed the traditional jazz instruments. clarinets, as suggested as an alternative work for an audience of peers and local Jazz, of course, is properly an by the composer, would probably help early music enthusiasts (see our improvised art and so takes a fair to give an even clearer sense of shape performance at www.youtube.com/ amount of time and practice to do well. to the piece. watch?v=2mjgMMwksX0). Our For those without the training or skill, While lively and virtuosic, this ensemble had the unique task of adapt- however, there are any number of would not be easy music for an audience ing the four-part piece for five players; “jazzy” pieces of music available that to take in at first hearing. However, our solution was to double the will give a swinging, syncopated effect for recorder groups looking to find a “walking” bass part throughout. without the need to actually improvise. substantial and challenging piece in an For the first 224 bars, too, we While this style of writing is frequently uncompromising jazz idiom, this will opted for two tenor recorder players challenging to read from the page, it can certainly fill the bill. The presentation is rather than the designated three. While be readily adapted even for beginners. attractive and accurate, though with a these alterations in balance and perform- Alberto Bonacina’s Something Jazz difficult page turn in the parts. ance practice were not absolutely in line for Mister Paul is not that sort of easily Scott Paterson, a former ARS Board with the composer’s specifications (Rose approachable adaptation! There is no member, teaches recorder and Baroque flute writes: “The bass part should be felt word in the notes who Mister Paul in the Toronto area, where he is a freelance more than heard as it often was in old might be, but he and his friends are performer. He has written on music for bebop recordings”), I hope that our obviously accomplished performers. various publications for over 25 years, and version of the work successfully demon- While still not involving improvi- has just opened his own studio after over 30 strates how a well-composed piece can sation, the piece draws on every other years at the Royal Conservatory of Music of withstand musical change and, more- skill possessed by practiced jazz players, Toronto. over, maintain its spirit in the face of starting with the ability to play quick, circumstantial transformation. disjunct lines in flexible, constantly vary- MOONDUST BY PETE ROSE. Technical difficulties aside, I ing rhythms with perfect ensemble, and Heinrichshofen Edition N2641 believe that there are two challenges extending to special techniques such as (www.edition-peters.com), 2007. posed by Moondust: first, performers fall-offs (a quick drop in pitch at the end TTTB/SATB. Sc 20 pp, pts 7 pp. $26. largely unfamiliar with jazz—and the of a note), glissandi and multiphonics. Pete Rose’s Moondust was commis- bebop idiom, specifically—must come Bonacina’s introductory note sioned by Amsterdam Loeki Stardust to understand and effectively interpret a points out that the piece is not developed Quartet in 2002. In his preface, Rose new and unusual musical language. from repeated chord changes in the describes the piece for recorder quartet Indeed, in the piece’s first lengthy sec- usual manner, but is instead a rondo (TTTB & SATB) as being “largely tion, the tenor recorder soloists will, at built around a short, flexible theme. The written in a Bebop style but with an least initially, find themselves adrift in a piece lasts about three minutes, and the unusual twist.” Those familiar with or seemingly endless sea of eighth-notes. impression it gives is one of complexity fond of the jazz standard How High the The question, then, becomes how to

30 March 2011 American Recorder parse each musical phrase and tackle would recreate the spontaneity of genu- recorder type; however, we did decide issues of affect. ine jazz improvisation. Irony, then, is on occasional changes in visual level If bebop isn’t one’s forte, relating inherent; but there is nothing insur- (i.e., standing vs. sitting). the music and the task at hand to similar mountable or impossible. At the start of the improvisatory experiences with far earlier genres (i.e., All members of McGill Univer- “O” section, our bass recorder players Baroque, Renaissance and Medieval) sity’s recorder consort greatly appre- sounded their ostinato pattern a single might be a viable solution. In the end, ciated that, aside from a few effective time solo and stood up; the audience’s that was my approach. One empower- instances of glissandi and quarter-tone attention was drawn toward the promi- ing revelation that arose was: disparate application, the composer’s desire for nent line and away from those of us musical genres can be subject to the specific articulations and dynamic levels who were switching recorders. same sense of logic. One’s intuition was not overbearing. It felt as though Clearly, a work that allows recorder should, of course, be questioned con- there was much room for spontaneity players to experience the musically stantly; but I feel it needn’t ever be within the piece. Hopefully, any future unknown is a worthwhile play. Well- entirely abandoned, especially while ensemble performing this work will be loved jazz pieces have been adapted for charting strange musical waters. able to place its personal stamp upon it. myriad manner of recorder ensemble; Second, and likely more difficult, Rose offers insight into his general this is an outstanding composition writ- is the task of creating a concert experi- desires regarding sectional affect as well ten by a recorder player for recorder ence complimentary to Moondust’s as suggestions as to how the players players. Due to its sheer novelty, Moon- particular style. Rose writes: “To me, might arrange themselves on stage: dust would make a fantastic addition to there is an amazing paradox in bebop “The opening section was made very any collection. music. On the one hand, it is potentially long with the intent of bringing the The edition from which the McGill one of the most brilliant and intensely audience to the point of inattention. The recorder consort played is compact but creative kinds of music ever devised, middle section will be a breath of fresh legible, visually appealing, and includes while on the other hand, it is—at least air, and the final section is meant to be clear and concise input from Rose. His in its purist state—quite narrow in its very exciting. I would suggest that in the detailed biography (outlining his many expressive scope. My goal in writing first part, the three tenors read from the accomplishments and awards, including Moondust is to illustrate that paradox.” same part standing up, while the bass the ARS Distinguished Achievement The piece does include a section plays from his own part in a different Award), preface, and instructions both (marked “O”) where three of the four part of the stage. During the middle before and within the piece, are included voices may improvise over a “funky section, the players may walk around, in English and German. bass” ostinato. This section is too then re-group for the last section play- Laura Osterlund, an undergraduate brief, however; the majority includes ing from yet another area and standing at McGill University in Montréal, QC, is all notes written out. (or sitting) four in a row.” For our pursuing bachelor’s degrees in Early Music I believe that Rose hoped, through particular performance, we decided to Performance and Music History. She has the piece, to craft a composition that remain in a row at all times, ordered by studied recorder under the tutelage of players such as Mary Anne Wolff–Gardner, Scott Reiss, Cléa Galhano, Matthias Maute, Early Music America Francis Colpron and Natalie Michaud. 25 She has taken courses with, and played in events at the 2011Boston Early Music Festival master classes for, Marion Verbruggen, Dan

Early Music America Young Performers Festival zJune 13-18, 2011 EMA presents a series of concerts by college and university-based early music ensembles plus a special concert by the Festival Ensemble, a group of about 30 young early music performers. Early Music America Conference zJune 15-17, 2011 EMA presents “Focus on the Future: the Next 25 Years of Early Music in North America,” a series of morning discussions about the future of early music in North America. Annual Membership Meeting, Awards Ceremony & Party zJune 18, 2011 A special reception honoring our award winners & celebrating EMA’s 25th Anniversary.

More info at www.earlymusic.org | 1-888-SACKBUT | [email protected]

www.AmericanRecorder.org March 2011 31 Laurin, Pete Rose, Maurice Steger, Pierre tangos, the “Peanuts Rag,” and a lovely resolution. This modern music is acces- Hamon, Reine–Marie Verhagen, Saskia klezmer called “Farewell.” sible for most players and listeners alike. Coolen, Aldo Abreu, Alison Melville, Debra Sue Groskreutz has music degrees On the other hand, Nicola Ter- Nagy, Lisette Kielson, Patrick O’Malley, from Illinois Wesleyan University and the möhlen has created a piece, Samovila, Sylvain Bergeron, Betsy MacMillan and University of Illinois, plus Orff-Schulwerk that is somewhat more contemporary Matt Jennejohn, as well as members of the certification from DePaul University. in flavor and nearly off the scale in diffi- Flanders Recorder Quartet, the Newberry Playing and teaching recorder are the culty. She was born in Germany and has Consort, Piffaro, Sequentia and Les Sacque- greatest musical loves of her life. She won several awards for her composi- boutiers de Toulouse. She is an active musi- was president of the American Recorder tions, regularly performing them her- cian in Montréal and Chicago, IL. Teachers’ Association for 10 years. self. The “samovila” of the title is a nature goddess in Slavic mythology, STRAßENMUSIK À 2 BOOK 2, LAST STOP PROKUPLJE, BY who entices a young man to dance BY UWE HEGER. Noetzel Edition PHILIPP TENTA (B. 1956). Moeck with her, perhaps to his death. N4949 (www.edition-peters.com), Zfs815 (Magnamusic), 2007. SSA. The one-movement trio is really a 2006. SA (or SS, TT, SA-up). Sc 48 pp. Sc 6 pp, pts 1 p ea. $7. virtuosic solo for tenor recorder with $11.95. SAMOVILA, BY NICOLA accompaniment by two basses. Nearly Born in 1957 in Hamburg, Ger- TERMÖHLEN (B. 1979). Moeck every technical difficulty of traditionally- many, Uwe Heger took up recorder as 818-819 (Magnamusic), 2009. TBB. written recorder music is present in the a first instrument at the age of 10. This Sc 8 pp, pts 2 pp ea. $10.95. top part: 16th- and 32nd-note passages was followed by studies in many other The dishes at our favorite Mexican (at =126-132) with challenging acci- instruments including trumpet and restaurant are rated from mildest to hot- dentals and cross-fingerings, extreme  saxophone. Heger’s background with test on a thermometer numbered from 1 range (high C on a tenor), dynamic jazz idioms includes performing and to 10. If these two examples of contem- markings from pp to ff, and complex teaching jazz recorder. Straßenmusik is porary program music were similarly cross-rhythms. The only thing keeping also published in three parts by Noetzel graded for difficulty and modern flavor, the composition from rating a 10 is the and available from Peters (N4777). Last Stop Prokuplje would receive a 3, meter, remaining solidly 4/4 throughout. The diminutive size of this volume while Samovila would earn a 9.5. An additional challenge unique of duets (about 6”x 8”) caused it inad- Philipp Tenta was born in Austria to 20th- and 21st-century music is the vertently to slip to the bottom of a pile and now lives in Germany. During his requirement, mercifully only in the slow of review music. But when it magically world travels, he spent time volunteering passages, to play notes and sing them at reappeared, I found that pleasant music to help refugees in Serbia, an experience the same time, and to play one note can come in small packages! Straßen- that inspired Last Stop Prokuplje. The while singing another. musik means street music, and there is a whimsical titles and charming music The two accompanying bass lines lovely picture on the cover of two young belie harsh realities in that troubled are considerably easier, although they ladies performing at an outdoor café. part of Europe, such as the “last stop” have an occasional tricky passage and The book consists of 24 original on the train line that can no longer participate in the flurry of 32nd notes duets including klezmer, blues, tangos, cross into Kosovo and the “recycling” in the last three measures. Most of the rags, Latin-Folk, lullabies and mambos. of trash that provides the only income time, they play a driving, repeated syn- They can all be played on two sopranos for many people. copated rhythm in fifths that forms a or two tenors, but by far my preferred The suite consists of three short ground for the tenor’s pyrotechnics. combination is soprano and alto-up. movements: “Last Stop Prokuplje,” So if you like your contemporary The duets are quite nice—with a great which has a blues feel; “Mama Kasu- music on the mild side, you’ll enjoy Last balance between parallel and contrary movic Offers Red Peppers,” with hints Stop Prokuplje. If you can take the heat, motion and lively rhythmic independ- of jazz; and “Recycling Tour,” reminis- order the Samovila. ence between the voices. cent of ragtime. The time signature is Anne Fjestad Peterson has a Bachelor This attractive publication is partic- 8/8 for all three, but it will be easier, once of Arts in music education from Concordia ularly useful if you have a group of stu- past the sight-reading stage, to feel them College, Moorhead, MN, and a Master of dents working on easy mobility between in 4/4. The parts are equal in difficulty, Music in music history from the University C and F fingerings. Most of the pieces with rhythms and accidentals that are of Colorado. She has taught private and are in the intermediate range, although somewhat challenging for intermediate class recorder in Boulder, CO, since 1974 some have more challenging chromatic players, but easy for the more advanced. and has performed since 1980 with the lines. My personal favorites are all of the The dissonances can be sharp, but Boulder Renaissance Consort, for whom they are always followed by a soothing she arranges music. 32 March 2011 American Recorder REVIEWS OF TWO TEACHING PACKAGES: PLAYING THE SOPRANO RECORDER FOR CHURCH, SCHOOL, COMMUNITY, AND THE PRIVATE STUDIO, BY LOIS VEENHOVEN GUDERIAN. Co-published by Rowman & Littlefield Education Press (www.rowmaneduca tion.com), and MENC: the National Association for Music Education, 2007.

Book only, 312 pp. $34.95 (discounts available for students). This excellent method includes extensive introductory comments that I strongly recommend every teacher read. They set a tone for teaching in general, and for teaching the recorder specifically, that I find attractive and helpful. Under her Teaching Tips, Guderian offers practical suggestions for success- ful teaching of the recorder in a music classroom situation, giving appropriate emphasis on the dual goals of music reading and creative music-making apart from the printed page. Her tip #2 discusses the desirable activities of “echoes” and “question and answer.” From my experience, I have found it good to keep these two activities separate, since they offer methods to teach different skills. The echo, as the name implies, has the teacher play a pattern (at first, four beats only); the students repeat it exactly without a break. The advantages of the echo are numerous: 1) it requires careful listening; 2) it offers a way for the students to hear and to imitate good sound, tonguing and breathing; 3) it provides good examples of hand and instrument position and other basics; 4) it can be tailored to the skills-of-the day; 5) it can be a way to check on individuals as well as to warm up the groups; 6) it is a change-of- pace method to get the students playing off-the-page; 7) it allows the students to concentrate on a narrow range of skills at one time. The “question and answer” is more complicated and should be introduced a little later. I recommend beginning with a four-beat question (starting on G and ending on another pitch; for example: Question GAAB). The answer should also be four beats long (starting near the ending pitch of the question and ending on G; for example: Answer BAAG or ABAG). Together, then, the sequence is: GAAB/ABAG or GAAB/BAAG. The advantages of the “question and answer” are also numerous: 1) it is a beginning step of composition, and is therefore creative and satisfying for the students; 2) it is flexible and can change as the students gain confidence; 3) it calls for concentrating on several skills at once; 4) it is music- making not tied to the page. In her tip #12, the author encourages singing as well as playing pieces wher- ever possible. I agree; knowing words allows for better decisions about phrasing and breathing.In her tip #13, Guderian reminds us to keep in mind that our primary focus should be instilling joy in making and sharing music in our students! I found it very helpful to have the listing of the nine National Standards for Music Education that should be achieved with the teaching of the soprano recorder in the music classroom. Individual performers and recorder ensembles seeking funding and support for taking programs into the schools would do well to con- sider these in planning their presentations. The next section of the book includes 18 complete lesson plans with notes about the material to be introduced, exercises, and pieces to be played and practiced. In addition, there is always a section, “Creative Corner,” that calls for the student to compose a piece or other similar activity. Here is where I sometimes disagree with the author’s suggestions. For example: in Lesson I, Guderian suggests that the student breathe in through the mouth or nose. In my 40 years of teaching recorder to all ages and levels, I have found it most important from the very beginning to insist on breathing through the

www.AmericanRecorder.org March 2011 33 mouth (recorder stuck on the lower lip; skill, music reading, musicianship and jaw drops open; air is sucked in through [Guderian] knows how creative thinking within the context of the open mouth; throat open, like to encourage and inspire enjoyable, musical experience.” “waah”). One doesn’t need to give all her students. She then presents Teaching Tips, these details yet—simply say, “Watch 18 lessons, addenda and a practice/ how I take air in. Let’s do it together.” new level of blowing to produce a sweet performance CD (only found in the It will be time enough to discuss details sound in this range. edition with piano accompaniment), a little later; but it is crucial to form Despite the number of suggestions thoroughly covering every aspect of the correct habit from the first lesson. and concerns I have with this method, I recorder playing and beginning musi- It is also important to indicate the find that it is very useable, and I thank cianship. In this reviewer’s opinion, an proper place to take a breath in exercises the author for her careful and thought- alternative title for this might be Teaching as well as in pieces where phrasing is so ful addition to the literature. I like the Children to Play the Recorder for Dummies crucial. way it is presented in a very manage- —and I mean that as a compliment! In Lesson IV, after three lessons able and visibly pleasing format, with The first 17 lessons follow the pat- spent learning much about music nota- enough space on each page to separate tern of: technique and fingering, music tion and theory using the notes BAG, between sections. I love the inclusion lesson (note-reading and other simple the author introduces C and D above. of a creative activity with each lesson. theory concepts), repertoire pieces for While this opens up many possibilities It is clear to me that Guderian is that lesson, creative corner (where the for songs to play, I think that adding an experienced and gifted music special- students are encouraged to compose low E and D next avoids many prob- ist; she knows how to encourage and their own piece using the notes of that lems. Involving the right hand as soon inspire her students. My concerns point lesson), theory and musical terminology, as possible usually eliminates any left- to a possible need for understanding and an assignment. The edition without hand inaccuracies as well as any bad and refining techniques that are specific piano accompaniment is a student work- habits the right hand might create for to the recorder beyond the classroom. book, containing the bulk of the edition itself. Marie-Louise A. Smith has taught with piano accompaniment, but in a size In Lesson V, we are given an exten- recorder for 40 years. She retired in 2003 that makes sense for a student to take sive lesson on dynamics—but not told from the Indiana University Jacobs School home and work on, and then bring back how to achieve the affect of “loud” or of Music’s Early Music Institute, where to a lesson or class. Lesson 18 contains “soft” on the recorder. It is not the same she directed the IU Young Recorder Play- supplementary solos for “putting it all as on a modern flute or clarinet. If we ers. She created and directed the Summer together.” try to blow louder or softer, intonation IU Recorder Academy for gifted teenage I highly recommend getting this suffers dramatically, as does the quality recorder players from all over the world. guide to use with your own students. of the sound. Instead, we must create In 2005, she received the ARS Presidential Valerie E. Hess, M.M. in Church the illusion of loud and soft with longer Special Honor Award. She has served on Music/Organ from Valparaiso University, or shorter pieces of the note, which is the ARS Board. is Coordinator of Music Ministries at always blown at the same ideal place for Trinity Lutheran Church, Boulder, CO, the most beautiful sound. Thus, this Complete edition: with piano where she directs the Trinity Consort. might have been a better place to intro- accomp. $34.95; without piano She has also published two books on the duce the concept of legato (connected: accomp. $26.95. Spiritual Disciplines. ta-ta-ta-ta) and staccato (separated: These are “revised and expanded” dot dot dot dot) and forget altogether editions by Lois Veenhoven Guderian KEY: rec=recorder; S’o=sopranino; about f, mf, ff, p, mp, pp and ppp. of her extensive and fine method for S=soprano; A=alto; T=tenor; B=bass; gB=great bass; cB= contra bass; Tr= In Lesson VI, it seems like a bit too teaching children the soprano recorder.  treble; qrt=quartet; pf=piano; fwd= much to introduce C, D, E and F all at Guderian is Assistant Professor of foreword; opt=optional; perc=percussion;  once. In Lesson X, the fingering for B pp=pages; sc=score; pt(s)=part(s); Music at the University of Wisconsin- kbd=keyboard; bc=basso continuo; is unusual; T134 is the fingering that is Superior, where she teaches elementary hc=harpsichord; P&H=postage/handling. normally used. and secondary music education classes Multiple reviews by one reviewer are fol- lowed by that reviewer’s name. Publications In Lesson XII, introducing the to music majors, and music education as can be purchased from ARS Business upper octave, it is too much to require part of elementary education to elemen- Members, your local music store, or directly three new notes at the same time. There tary education majors. She writes in the from some distributors. Please submit music and books for review to: Sue Groskreutz, needs to be more specific information introduction: “Playing the Soprano 1949 West Court St., Kankakee, IL 60901 about the thumb movement and the Recorder is designed to develop playing U.S., [email protected].

34 March 2011 American Recorder Chapters & Consorts ______Sing and play for your supper, ______and let the workshops begin Kay Hettich and Barbara Condon, were in “period adornment,” and also January 9 in El Cerrito, CA. Starting directors of the ARS Redding Chap- had to bring their own table service, at 3 p.m., Louise Carslake led the ter, performed in Old Shasta, CA, as was the tradition hundreds of years group on a trip to Italy. They played on December 4, for “Holiday in the ago. A “Sing for your Supper” option two Epiphany motets: Tribus Mir- Parks” at the Courthouse Museum was also mentioned on the invitation. aculis, a joyful motet by Giovanni of the California State Park. The East Bay Recorder Society Pierluigi da Palestrina; and an eight- The theme of the January also hosted its Twelfth Night potluck part Omnes de Saba Venient, written by Greater Denver (CO) Chapter meeting was Native American flute Florida Groups hold Workshop with Jody Miller music for recorder. Presenters Erin On January 15, the Lakeland Imperial Recorder Consort was host to a and David Bell shared their pas- workshop with 25 attending at the First Presbyterian Church in Lakeland, FL. sions with participants: being trained They were joined by Pasco Collegium Recorder Consort, Pilgrim Pipers musicians, a love of music coupled Recorder Chapter and Sarasota Chapter. with their interest in Native Ameri-can The morning was spent with Jody Miller, the workshop leader, carefully culture. They explained how Native working through issues of breathing, phrasing, intonation and rhythm. After American flutes and recorders differ, lunch he conducted a master class with Pilgrim Pipers playing Sinfonia by and demonstrated the purpose of the Adriano Banchieri, and the Lakeland Consort playing the first movement of bird attachment that passes the air into Sonata in D minor, Op. 2, by Tomaso Albinoni. a second chamber, which gives the Other music on which participants worked were Partita Marietta by Tim- flutes a haunting sound. They also othy Broege, Canzon by Rossi, and Von Fernen Inseln by Jeno Takacs. Miller demonstrated the different keys of works closely with composer (and AR columnist) Broege. flutes available, explaining how it is Miller is based in Atlanta, GA, where he performs regularly with the not possible to play Western music Ritornello Baroque Ensemble. The group found him to be a splendid educator with just one Native American flute and talented musician, one who willingly spends the necessary time to help because they are in different keys. players with technique. The group played from several Elizabeth B. Snedeker, Pilgrim Pipers books: Native American Music for Recorder (Marie and Robert Constas); Native American Music in Seven Volumes (D. Chazanoff); The Art of the Native American Flute (R. Carlos Nakai) and The Native American Flute Book (Bob Edgar). They also sug- gested as a further resource Introduc- tion to the Native Flute by Odell Borg of High Spirits Flutes. Five Denver Chapter members The Ladies of the Night, during a recital of Vicki Boeckman’s also played English and Celtic music adult students in Seattle, WA. They played Upwelling (Frances for an annual Epiphany Celebration— Blaker), La Gondoletta (Irmhild Beutler), Allegro from Con- a Twelfth Night Boar's Head Feaste certo in F (J.B. Boismortier), Bye Bye Blackbird (Mort Dixon with Fyne Entertainment in January. and Ray Henderson), and Someone to Watch over Me (George About 50 guests (as well as musicians) and Ira Gershwin). (Photo by William Stickney)

www.AmericanRecorder.org March 2011 35 Roland de Lassus during his years Music for the rest of the Mid- CONSIDER ADVERTISING IN in Italy. Other works were by Fran- Peninsula (CA) Recorder Orches- cesco Landini, Giacomo Bonzanini, tra’s season includes Shmulowitz’s Gioseffo Guami and Floriano Canali. A Brivele der Mam’n, the first move- East Bay also hosted a February ment of William Boyce’s Symphony Full page ...... $552 workshop for recorders, early winds, No. 3, two early 15th-century French 2/3 page ...... $439 1/2 page ...... $366 viols and singers entitled “Schütz: songs, and two new works by orches- 1/3 page ...... $286 The Psalmen Davids.” Greg Ingles, tra conductor Frederic Palmer. He 1/4 page ...... $223 1/6 page ...... $175 of Piffaro and Ciaramella, led parti- describes his Sonata La Margherita as 1/8 page ...... $127 cipants in the multiple-choir motets, being in the antiphonal style of the late 1/12 page...... $ 95 1 column inch ...... $ 58 written in German and combining 16th and early 17th centuries, while Prices include web site/e-mail link directly late-Renaissance Italian vocal style Esprit “incorporates an idiom culti- from your ad in the online AR at with the more austere nature of the vated by several composers associated www.americanrecorder.org. German sacred motet. The day with the Eastman School of Music Circulation: Includes the membership of the ARS, libraries, and music organizations. concluded with a mini-concert. during the 1950s and ’60s.” Published five times per year: CHAPTER NEWS January, March, May, September, November. Chapter newsletter editors and publicity Reservation Deadlines: December 1 (January), February 1 (March) , officers should send materials for publication April 1 (May), August 1 (September), to: AR, [email protected], October 1 (November). 7770 South High St., Centennial, CO Rates good through November 2011. Please 80122-3122. Also send short articles about inquire about discounts on multiple-issue specific activities that have increased chapter contracts, inserts, or other special requests. membership or recognition, or just the Extra charges for typesetting, layout, half- enjoyment your members get out of being part tones, and size alterations. 133-line screen recommended. Advertising subject to of your chapter. Digital photos should be at acceptance by magazine. First-time adver- least 3”x4”x300dpi TIF or unedited JPG tisers must include payment with order. files. Please send news to the AR address For more information, contact the above, and to the following: ARS Office, ARS office, 1129 Ruth Drive, St. Louis, [email protected], MO 63122-1019; 800-491-9588 toll free; 1129 Ruth Drive, St. Louis, MO 314-966-4082 phone; 314-966-4649 fax 63122-1019; and to Bonnie Kelly, Chair, [email protected] Chapters & Consorts Committee, Advertiser Index [email protected], 45 Shawsheen Rd. #16, Bedford, MA 01730. AMERICAN ORFF-SCHULWERK ASSN...... 16 Classified rate for American Recorder: 60¢ per AMERICAN RECORDER SOCIETY . . . . . IBC, 19, 20, 25 word, 10-word minimum. “FOR SALE” and AMHERST EARLY MUSIC FESTIVAL ...... 14 “WANTED” may be included in the copy STEPHAN BLEZINGER ...... 17 The without counting. Zip code is one word; JEAN-LUC BOUDREAU...... 24, 29 phone, e-mail or web page is two. Payment Recorder Magazine must accompany copy. Deadlines are one COURTLY MUSIC UNLIMITED...... 32 we invite you to visit the site month before issue date. Send copy with pay- EARLY MUSIC AMERICA ...... 27 www.recordermail.demon.co.uk ment to: ARS, 1129 Ruth Drive, St. Louis, MO HONEYSUCKLE MUSIC ...... 22 63122-1019. BILL LAZAR’S EARLY MUSIC ...... 3 KEITH E. LORAINE EARLY DOUBLE REED SERVICE . . 27 AMERICAN RECORDER (ISSN: 0003-0724), 1129 Ruth Dr., St. Louis, MO 63122-1019, is published bimonthly (January, March, May, September and November) for its members by the American LOST IN TIME PRESS...... 25 Recorder Society, Inc. $20 of the annual $45 U.S. membership dues in the ARS is for a subscription MADISON EARLY MUSIC FESTIVAL ...... 11 to American Recorder. Articles, reviews and letters to the editor reflect the viewpoint of their individ- MAGNAMUSIC DISTRIBUTORS ...... IBC ual authors. Their appearance in this magazine does not imply official endorsement by the ARS. MOECK VERLAG ...... IFC EDITORIAL DEADLINES: November 15 (January), January 15 (March), March 15 (May), July 15 MOLLENHAUER RECORDERS ...... OBC (September), and September 15 (November). Submission of articles and photographs is welcomed. OBERLIN BAROQUE PERFORMANCE INSTITUTE . . . 15 Articles may be typed, or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes- PORT TOWNSEND WORKSHOP ...... 13 sage. They should be for the exclusive consideration of AR, unless otherwise noted. Photos may be PRESCOTT WORKSHOP ...... 29 sent as prints, or unedited JPG or 300dpi TIF files (minimum 3”x4”). Advertisements may be sent in PDF or EPS format, with fonts embedded. PROVINCETOWN BOOKSHOP...... 23 THE RECORDER MAGAZINE ...... 32 EDITORIAL OFFICE: Gail Nickless, Editor, 7770 S. High St., Centennial, CO 80122; 303-794-0114; THE RECORDER SHOP...... 17 [email protected]. Books and Music for review: Sue Groskreutz, 1949 West Court St., Kankakee, IL 60901. Recordings for review: Tom Bickley, 1811 Stuart St., Berkeley, CA 94703. SAN FRANCISCO EARLY MUSIC WORKSHOPS...... 8 Cutting Edge: Tim Broege, 212 Second Ave., Bradley Beach, NJ 07720-1159. Chapter newsletters, SWEETHEART FLUTE CO...... 25 other reports: Editorial office. Postmaster: Send address changes to ARS, 1129 Ruth Dr., St. Louis, TEXAS TOOT ...... 9 MO 63122. Periodicals postage paid at St. Louis, MO, and at an additional mailing office. VON HUENE WORKSHOP, INC...... 21

36 March 2011 American Recorder