Arsep11body.Pdf
Published by the American Recorder Society, Vol. LII, No. 4 • www.americanrecorder.org 1 1 0 2 r e b m e t p e s Moeck-Anzeige-Natur.indd 1 07.07.2010 11:53:09 Uhr
SAVE THE DATE! July 5-8, 2012 Reed College, Portland, OR
“The ARS 2009 Festival was wonderful! I’ve been to quite a few recorder workshops over the years, and this festival was by far the best event I’ve attended. There was always something to do. So much to learn from so many knowledgeable people.”
Join us at Portland’s beautiful Reed College in 2012 as we celebrate “The Recorder: Past, Present & Future.” Featured performers include: Paul Leenhouts, Cléa Galhano, Vicki Boeckman and Phil & Gayle Neuman.
www.americanrecorder.org/events/Festival/2012_Festival.html
Moeck-Anzeige-Natur.indd 1 07.07.2010 11:53:09 Uhr NEW!
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www.mollenhauer.com Order-No. 2646K Order-No. 5606 NEW! Editor’s ______Note Enjoy the recorder Denner great bass ______Volume LII, Number 4 September 2011 Mollenhauer & Friedrich von Huene ______
Features he Denver Post July 10 headline read, “What’s new in opera? The Old.” The Recorder in Print: 2009 ...... 12 TThe article described how mainstream Part II of What’s Been Written about the Recorder opera companies such as the Metropolitan Opera and Santa Fe Opera are “breathing in other Publications around the World By David Lasocki “The Canta great new life” into all-but-forgotten operas from 4 bass is very intuitive the 17th-18th centuries—while also easing Departments to play, making it financial burdens due to the smaller forces ideal for use in recorder used in Baroque operas. Part of the appeal is Advertiser Index and Classified Rates ...... 32 “The new Mollenhauer Denner orchestras and can be the “unpredictability” of early opera plots— great bass is captivating with Book Reviews ...... 20 recommended .” perhaps mimicking complex modern life. its round, solid sound, stable in The Boston Early Music Festival David Tayler comments on Recording on a Budget every register. Its key mechanism Dietrich Schnabel has offered early opera works for years— Chapters & Consorts ...... 30 is comfortable and especially (conductor of recor- including this year’s Niobe. Read about Play-the-Recorder Month 2011 well designed for small hands. An der orchestras) the opera, as well as many recorder events 5 instrument highly recommended (report on page 6; more online). Compact Disc Reviews ...... 24 for both ensemble and orchestral Inside is part II of David Lasocki’s Scott Paterson reviews a new CD by playing.” “The Recorder in Print: 2009” (page Farallon Recorder Quartet 12). Its topics tie in with On the Cutting Education ...... 23 Daniel Koschitzky Edge (page 11), Book Reviews (page 20), Canta knick great bass Mary Halverson Waldo gives more ideas about (member of the ensemble Spark) Music Reviews (page 26) and BEMF. how to learn recorder basics online Mollenhauer & Friedrich von Huene 2011 saw another busy Play-the- Recorder Month (page 30). See www. Music Reviews ...... 26 G# and E keys enable americanrecorder.org/events/PTRM/ 12 b Music for recorder orchestra larger finger holes 11ptrm/2011_play.html for more photos. and thus an especially Gail Nickless On the Cutting Edge ...... 11 stable sound. Tim Broege likes the spark in Ensemble Spark President’s Message ...... 3 A to-do list from Lisette Kielson, ARS President Tidings ...... 4 In Memoriam: Bruce Haynes; awards to www.facebook.com/americanrecordermag David Lasocki, Louise Austin, Piffaro and 30 www.facebook.com/pages/American- BEMF’s Kathleen Fay; BEMF 2011 coverage Recorder-Society/118849625628 (with more online)
Gail Nickless, Editor ON THE COVER: Winning entry of Contributing Editors Tom Bickley, Compact Disc Reviews • Frances Blaker, Beginners & Technique the 2011 ARS Timothy Broege, 20th/21st-Century Performance • Carolyn Peskin, Q & A Play-the-Recorder Month Cover Art Sue Groskreutz, Book & Music Reviews • Mary Halverson Waldo, Education Contest by Ricky B. Advisory Board ©2011 American Martha Bixler • Valerie Horst • David Lasocki • Bob Marvin Recorder Society The recorder case with many extras With adjustable support spike Thomas Prescott • Catherine Turocy• Kenneth Wollitz … saves an incredible amount of space with www.AmericanRecorder.org Glenna Lang, the two-part middle joint Copyright©2011 American Recorder Society, Inc. Design Consultant … place for music … integrated recorder stand
www.mollenhauer.com Order-No. 2646K Order-No. 5606 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 AMERICAN Arizona Marilyn Bernhardt (808-882-7251) (845-624-2150) Desert Pipes (Phoenix): Idaho Westchester: RECORDER George Gunnels (480-706-6271) Les Bois (Boise): Erica Babad (914-769-5236) Arizona Central Highlands Kim Wardwell (360-202-3427) North Carolina SOCIETY (Prescott): Georgeanne Hanna Illinois Carolina Mountains: (928-775-5856) Carol Markey (828-884-4304) inc. Chicago: Dennis Sherman Tucson: Scott Mason (520-721-0846) Triangle: Mary McKinney (773-764-1920) Arkansas (919-489-2292) Honorary President Chicago–West Suburban: Erich Katz (1900-1973) Aeolus Konsort: David Johnson (630-740-9220) Ohio Don Wold (501-666-2787) Honorary Vice President Louisiana Greater Cleveland: Bella Vista: Barbara McCoy Edith Yerger (440-826-0716) Winifred Jaeger (479-855-6477) Baton Rouge: Toledo: Marilyn Perlmutter California Cody Sibley (225-505-0633) (419-531-6259) New Orleans: Statement of Purpose Central Coast: Margery Seid Victoria Blanchard (504-861-4289) Oregon The mission of the American Recorder Society (805-474-8538) & David Kemp (504-897-6162) Eugene: Lynne Coates is to promote the recorder and its music by East Bay: Susan Jaffe (510-482-4993) Maryland (541-345-5235) Inland Riverside: Greg Taber Oregon Coast: Corlu Collier developing resources and standards to help (951-683-8744) Northern Maryland: (541-265-5910) people of all ages and ability levels to play and Monterey Bay: LouAnn Hofman Richard Spittel (410-242-3395) Portland: Zoë Tokar (971-325-1060) (831-439-0809) Massachusetts Pennsylvania study the recorder, presenting the instrument North Coast: Kathleen to new constituencies, encouraging increased Kinkela-Love (707-822-8835) Boston: Justin Godoy Bloomsburg Early Music Ens.: career opportunities for professional recorder Orange County: (781-507-4891) Susan Brook (570-784-8363) Jo Redmon (714-527-5070) Recorders/Early Music Erie: Linda McWilliams performers and teachers, and enabling and Redding: Kay Hettich Metro-West Boston: Sheila (814-868-3059) supporting recorder playing as a shared social (530-241-8107) Beardslee (978-264-0584) Philadelphia: experience. Besides this journal, ARS publishes Sacramento: Mark Schiffer Worcester Hills: Doug Bittner Sarah West (215-984-8359) (916-685-7684) (508-852-6877) Pittsburgh: Helen Thornton a newsletter, a personal study program, a San Diego County: Harvey Michigan (412-486-0482) directory, and special musical editions. Society Winokur (619-334-1993) Rhode Island San Francisco: Greta Hryciw Ann Arbor: David Griffiths members gather and play together at chapter (415-377-4444) (734-213-3172) Rhode Island: meetings, weekend and summer workshops, Sonoma County: Kalamazoo: David W. Fischer David Bojar (401-944-3395) and many ARS-sponsored events throughout Dale Celidore (707-874-9524) (269-375-0457) Tennessee South Bay: Metropolitan Detroit: Claudia the year. In 2009, the Society enters its Novitzsky (248-548-5668) Greater Knoxville: Liz Brownell (408-358-0878) Ann Stierli (865-637-6179) eighth decade of service to its constituents. Southern California: Northwinds Recorder Society: Janet Smith (231-347-1056) Nashville Parks: Carol Vander Wal Jerry Cotts (310-453-6004) & (615-226-2952) Western Michigan: Jocelyn Shaw Juanita Davis (310-390-2378) Southern Middle Tennessee (Tullahoma): ( 231-744-8248) Board of Directors Colorado Vicki Collinsworth (931-607-9072) Lisette Kielson, President Minnesota Boulder: Mike Emptage Texas Laura Sanborn–Kuhlman, (970-667-3929) Twin Cities: Sue Silber (651-697-7080) Austin: Frank Shirley (512-832-5600) Vice President; Fundraising Chair Colorado Springs: Janet Howbert Missouri Dallas: Laura Moynihan (817-251-0662) Susan Richter, Secretary (719-632-6465) Rio Grande: Denver: Dick Munz (303-286-7909) St. Louis: Cathy Emptage, Treasurer, Finance Chair Norm Stoecker (636-230-9337) Sylvia Burke (575-522-1742) Fort Collins: Sherry Pomering Utah Matt Ross, Asst. Secretary; Governance Chair (970-484-0305) Nevada Bonnie Kelly, Asst. Treasurer; Early Music Society of Western CO: Sierra Early Music Society: Utah (Salt Lake): Mary Johnson Bev Jackson (970-257-1692) (801-272-9015) Membership Co-Chair Kay Judson (775-322-3990) Connecticut New Hampshire Vermont Mark Davenport, Program Chair Monadnock: Connecticut: Elise Jaeger Monadnock: Jeanne Lynch, Marketing/ Kristine Schramel (413-648-9916) (203-792-5606) Kristine Schramel (413-648-9916) & Lynn Herzog (802-254-1223) Public Relations Chair Eastern Connecticut: & Lynn Herzog (802-254-1223) Joyce Goldberg (860-442-8490) Virginia Ann Stickney, Membership Co-Chair New Jersey District of Columbia Northern Virginia: Nancy Buss Mark Dawson Bergen County: Washington: Art Jacobson Edward Friedler (703-425-1324) Greg Higby Mary McCutcheon Mary Comins (201-489-5695) Shenandoah (Charlottesville): (301-983-1310) & Reita Powell (201-944-2027) Delaware Gary Porter (434-284-2995) Highland Park: Donna Messer Tidewater (Williamsburg): Staff Brandywine: Roger Matsumoto (732-828-7421) Vicki H. Hall (757-565-2773) Kathy Sherrick, Administrative Director (302-731-1430) Montclair Early Music: Washington Florida Julianne Pape (845-943-0610) 1129 Ruth Drive Navesink: Lori Goldschmidt Moss Bay: Janice Johnson St. Louis, MO 63122-1019 U.S. Ft. Myers: Sue Groskreutz (732-922-2750) (425-814-5923) 800-491-9588 toll free (239-267-1752) Princeton: Orum Stringer Seattle: Jill Shupe (206-364-7509) Gainesville: Peter Bushnell 314-966-4082 phone (215-295-7149) Wisconsin (352-376-4390) New Mexico 314-966-4649 fax Largo/St. Petersburg: Milwaukee: Carole Goodfellow (262-763-8992) [email protected] Elizabeth Snedeker (727-596-7813) Albuquerque: Bryan Bingham Miami: Phyllis Hoar (305-385-5386) (505-299-0052) Southern Wisconsin: www.AmericanRecorder.org Orlando Consort: Sheri Grayson Las Vegas (Flat & Baroque in Las Greg Higby (608-256-0065) (407-299-3076) Vegas): Tom Curtis (505-454-4232) Canada Rio Grande: In accordance with the Internal Revenue Service Palm Beach: Gail Hershkowitz Edmonton: Nils Hahn (780-443-3334) Taxpayer Bill of Rights 2, passed by the United States (561-732-5985) Sylvia Burke (575-522-1742) Montréal: Christine Fournier Congress in 1996, the American Recorder Society makes Sarasota: Santa Fe: Gus Winter (505-603-8034) (450-348-0958) freely available through its office financial and Nancy Paxcia-Bibbins (941-536-0621) New York Toronto: Sharon Geens (416-699-0517) Georgia incorporation documents complying with that regulation. Buffalo: Mark Jay (716-649-1127) Please contact the ARS office Atlanta: Hudson Mohawk: to update chapter listings. Mickey Gillmor (404-872-0166) Lee Danielson (518-785-4065) 6 September 2011 American Recorder President’s Message ______Greetings from Lisette Kielson, ARS President [email protected]
ake out your pens! In this issue of Visit http://americanrecorder.org/ some time—offering people a way to the ARS Newsletter, you’ll find a events/Festival/2012_Festival.html, plan for the future and provide a lasting Tballot of proposed amendments to the often for updated details. legacy for the ARS. Thank you for ARS Bylaws. Governance Committee Make note of your new Chapter keeping us in your thoughts and for chair Matt Ross has gone through the Liaisons! Mark Dawson and Greg passing the Legacy Circle on to your Bylaws, identified issues that should be Higby, your new go-to people regard- friends and family. addressed, and suggested changes to ing all chapter issues, take over for Help to recruit new members to improve ARS governance. Important Matt Ross and Laura Kuhlman, who the ARS Board! Elections are coming issues include appointed members’ successfully spearheaded the positions up. See Nominating Task Force Chair terms, Board action outside of Board and greatly improved communication Nancy Buss’s announcement in the meetings, and standing committees. between the central organization and ARS Newsletter regarding the election its chapters. Greg, president of the process. The ARS needs you! Take out your pens! Winds of Southern Wisconsin chapter, And stay tuned! Fall brings the Mark your calendars! and Mark, past president of the September Board meeting in Denver, Chicago chapter, are passionate about CO; the October Annual Membership Mark your calendars! Hopefully their new roles, have already sent out Meeting in Chicago, IL (see the ARS you’ve heard the buzz about the ARS e-mail newsletters to chapter leaders, Newsletter—You’re invited!); the Festival and Conference at Reed Col and welcome your questions and President’s Appeal and new ways lege in Portland, OR, from July 5-8, comments. to contribute; important discussions 2012. Plan now and vacation in the See your lawyer! Fundraising regarding new benefits for members; beautiful Pacific Northwest! The chair Laura Kuhlman has created the planning for a regional Board Work theme—The Recorder: Past, Present, & Legacy Circle (see the ARS Newsletter). Day(s) in March (instead of a spring Future ! The headliners—Paul Leen Developed and coined beautifully by Board meeting); the ARS 2012 houts , Cléa Galhano, Vicki Boeck Laura, the concept of the Legacy Circle Festival and Conference brochure and man , and Phil and Gayle Neumann! has been in our hearts and minds for registration form ... and so much more!
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www.AmericanRecorder.org September 2011 7
Tidings ______Bruce Haynes dies, ______a photo collage of award honorees Awards presented by ARS and by Early Music America During its April Board Meeting in Portland, OR, the ARS presented its Distinguished Achievement Award to recorder scholar and author David Lasocki (r), in photo at left with ARS Administrative Director Kathy Sherrick.
At right, John Gauger (l) and his longtime teacher Louise Austin visit during the Boston (MA) Early Music Festival in June, where Austin was honored with the ARS Presidential Special Honor Award.
Also at the Boston Early Music Festival, during Early Music SWEETHEART America’s annual meeting, Piffaro, the Renaissance Band, FLUTE CO. received EMA’s Laurette Goldberg Award for lifetime achieve- Baroque Flutes: our own ment in early music outreach. Above right, Robert Wiemken “Sweetheart” model Fifes, Flageolettes speaks while his Piffaro co-director Joan Kimball looks on “Irish” Flutes & Whistles. Send for brochure and/or with lutenist Grant Herreid of the group. antique flute list.
Shortly after, Kathleen Fay, Executive Director of BEMF, was 32 South Maple Street Enfield, CT 06082 greeted by applause and then a standing ovation. She and (860) 749-4494 BEMF were joint recipients of EMA’s Howard Mayer Brown [email protected] www.sweetheartflute.com Award for lifetime achievement in the field of early music. 8 September 2011 American Recorder Bits & Pieces Bruce Haynes (1942-2011) Early music performer and author Bruce Haynes died May 17 in Montréal, QC. He was born in Louisville, KY, and from an early The New England Conservatory in age played recorder and oboe—the latter the Boston, MA, has added a Renaissance instrument, both modern and historical, of his improvisation course, open to under- performing career from 1960 to the early 2000s. graduate and graduate students of all He mastered the hautboy, and reintroduced it to instruments. Says instructor John France. Along with his wife and musical partner, Tyson, “Though we will study Renais Baroque ’cellist/gambist Susie Napper of sance music and the improvisation Montréal, he was a founding member manuals, the essence of this course is to of the Philharmonia Baroque Orchestra. enable every student to improvise flu- Haynes apprenticed with Friedrich von Haynes at the 2008 ently in a variety of Renaissance styles.” Huene in 1967, learning the art of copying www.nec Montréal Recorder To register, contact NEC, original Baroque woodwinds. In 1969, he Festival. music.edu, 617-585-1100. For specifics opened his own workshop in California. about course content, please contact In 1995, he was awarded a Ph.D. in Musicology by the University of Tyson, [email protected]. Montréal for a study of historical pitch standards, later published by Scarecrow Waddy Thompson has been Press as A History of Performing Pitch: The Story of A (see review in the Septem named executive director of New York’s ber 2003 AR; over some 40 years, four of his other books were reviewed in AR, InterSchool Orchestras. The composer plus he authored an article on “The Baroque Recorder: A Comparison With and fundraising consultant is the its Modern Counterpart” and was the subject of another AR article). In recog- author of The Complete Idiot’s Guide to nition of his research and writing, of both articles and books, he held various Grant Writing. He served as ARS doctoral and postdoctoral fellowships, including that of Senior Fellow of the Executive Director from 1982-88. Canada Council for the Arts in 2003.
www.AmericanRecorder.org September 2011 9 selections were sung by Bellott in flaw- Boston Early Music Festival 2011 less French and German, accompanied by Chambers and Cartreine, Chan Metamorphoses: Change and Transfor joined the instrumentalists for Scar mation was the theme of the Boston on “Transformation of Baroque latti’s Sonata a Tre in F Major, blending Early Music Festival (BEMF), held Music,” including a performance of alto recorder beautifully with Cham June 12-19 in Boston, MA. In its 30th Larry Thomas Bell’s Baroque Concerto, bers’s traverso; the trio glided seam- year, the 16th biennial BEMF hosted which they premiered last January. lessly from one movement to another. a number of world-famous artists such From the first note of the Bassano The final selection, C.P.E. Bach’s as the Tallis Scholars, King’s Singers, Ricercata Prima to the last note of Bell’s Phillis und Thirsis, Wq232, brought all famed gambist Jordi Savall, and many Baroque Concerto, the audience knew four musicians together for an artful highlighted events including five per- that Abreu had put a lot of thought finish to a well-thought-out program. formances of its centerpiece Baroque into how he sounded and what record- The audience was invited to join the opera Niobe. Some events employed ers would serve the music best. The performers for a sorbet reception, stim- direct references to Ovid’s Meta playing was sensitive and subtle as ulating the palate and conversation. morphoses, while others took up that well as sparkling with virtuosity. Benjamin Shute introduced the theme in a more general fashion. Three Telemann fantasias—part NEC Early Music Society (Sarah of Abreu’s recent CD, including the Moyer, soprano; Timothy Wilfong, Monday, June 13 fantasias and other works, played on baritone; Chingwei Lin, Emily In a late-afternoon event, El Fuego recorders from the collection of Fried O’Brien Dan Meyers rich von Huene—made one wonder if , recorders; Christopher Bel (Teri Kowiak, voice; , luscio, cornetto, natural trumpet; voice, recorder, percussion; Zoe Weiss, any of the same historical instruments were used in this concert. He didn’t use Nickolai Sheikov, Miyuki Tsurutani, gamba, Baroque ’cello; Salome Sando harpsichord; Melissa Schoenack, val, voice, vihuela, Baroque guitar) per- the historical ones, but Fantasia No. 12 was played on the von Huene copy of Baroque bassoon; and a half-dozen formed little-heard repertoire from strings) as a “grassroots” early music Spain and its New World colonies, in a the Bressan voice flute used on the CD. Believing it to be easier for an organization. Although New England synthesis of early music and folk styles. Conservatory is the most widely- “A Cantar y Bailar! An exploration of audience to listen to a recorder concert if it isn’t on the same size recorder the recognized music school in the Boston the villancicos and zacaras in the 16th area, an early music capitol of North and 17th centuries from Spain to the whole time, Abreu played each fantasia on a different size. The soaring spaces America, the resident early instrument New World (Mexico and Guatemala)” faculty there are limited to keyboard also included some common Spanish of the First Church in Boston accom- modated even the sopranino very well. and recorder. Opportunities to play works that are often offered because chamber music are limited. Several stu- everybody enjoys them. This group had Tuesday, June 14 dents formed this group to fill the gap. good resources for putting them across. The second half started with Tele Blocks away from most fringe venues, For instance, all the singers took mann’s Concerto in e minor for recorder Canzonare (Sarah Bellott, soprano; solo verses on Riu Riu Chiu, and the and traverso, ably played by Lin on instrumentalists each had an opportu- Kateri Chambers, traverso; Mufan Chan recorder and O’Brien taking up tra- nity to blend with and enhance the , recorder; Suzanne Cartreine, verso. O’Brien was a familiar figure on vocal lines. Particularly notable for that harpsichord) delighted a small but the Boston recorder scene when she support were the recorder playing of appreciative mid-day audience at the was a BU student, but she hasn’t played founding member Meyers. lovely Marsh Chapel at Boston Uni much publicly since returning from The group was striking visually; versity (BU). This concert was the Germany, where she earned a master’s the performers used red accents on group’s first-time collaboration. degree in recorder from the Hoch their conventional concert black dress. The program, entitled “Sorbetto,” schule für Musik. Always an exciting The Beacon Hill Friends House was a offered a sampling from the French, performer, she now has a remarkably beautiful location for a late afternoon Italian and German Baroque. After poised stage presence. This is a piece concert, with the performers playing Double coverage: See the for two virtuosos trying to play each against a backdrop of a whole-wall ARS web site for photos and other off the stage. The audience was window looking onto a garden. Aldo Abreu video, plus extended reports delighted that neither succeeded. In the early evening, , on events including the EMA In “Capricci di Virtuosi,” a dinner- recorder; Sam Ou, violoncello; Paul Young Performers Festival. hour performance by early music fac- Cienniwa, harpsichord, were featured ulty of the University of North Texas 10 September 2011 American Recorder (Keith Collins, dulcian, Baroque bas- Wednesday, June 15 adding Gonzalo Ruiz, oboe, and Justin soon; Christoph Hammer, harpsichord; After a walk across the Boston Com Godoy, recorder) assembled to hear Jennifer Lane, mezzo-soprano; Paul mon and up Beacon Hill, “strangers” four Baroque concertos—so many fans Leenhouts, recorder; Kathryn Mon assembled in Friends House to hear that programs ran out. The never-shy toya, Baroque oboe; Cynthia Roberts, Stranieri Qui (Julia Steinbok, soprano; Ruiz was nominated from the stage to Baroque violin; Allen Whear, Baroque Sarah Cantor, recorder; Angus shout out selections and soloists. ’cello) offered a widely varied program. Lansing, gamba; Matthew Wright, When not declaiming the pro- Without doubt, every recorder lute) perform works by composers who gram, Ruiz plus Tatiana Daubek were player at the concert in Church of the had mostly traveled to or otherwise soloists for Vivaldi’s Double Concerto for Covenant looked forward to hearing been affected by the Italian style— Oboe and Violin in Bb Major, RV548. Leenhouts. His first appearance was in composers from Verdelot to Handel. Invigorating though their playing was Biagio Marini’s richly chromatic Passa Spontaneous applause broke out —waking up a drowsy crowd in a hot mezzo Concertato (1629), a highlight of in the middle of a set of Dowland space—their pyrotechnics only set the the concert. The elaborate interlocking pieces as Cantor played Pavæn Lach stage for what was to come. of the recorder and violin parts created rymae of Jacob van Eyck (who never Playing an Aesthe soprano, soloist a duet over the continuo, brilliantly traveled to Italy himself, but based his Godoy was the highlight of the pro- executed. His playing seemed effortless. popular variations on a melody of gram with Vivaldi’s Recorder Concerto All of the instrumentalists joined Dowland, who did). Lyricism showed in G Major, RV443. Ripping through for Vivaldi’s Concerto in G Major, Op. through, even in its florid variations. scales and tossing off its familiar arpeg- 10, No. 6 alt. RV101. Despite nearby By the end, perhaps 50 audience gios, he departed from more predict- sirens, all of the ingredients for a good members were no longer “stranieri” to able ornaments. The string players and performance of a Vivaldi concerto were each other or to the shared “Rome’s continuo smiled and watched him there: crisp articulation, contrasting Riches” heard there. intently—perhaps he had never dynamics, precise ensemble playing In the angular sanctuary at First played it the same way twice? and relentless energy—their reward Church, loyal fans of Les Bostonades Rousing applause ended the event, was a well-deserved standing ovation. (its regular strings and harpsichord hopefully convincing the core members
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www.AmericanRecorder.org September 2011 11 Camerata (BC) in beastly transforma- have a murmuring fountain, passionate Perhaps he had tions. Le Roman de Fauvel comprised nymphs, and magical fire, so the per- never played it the their program’s second half. Program former can create differing moods. same way twice? notes by narrator Joel Cohen described The group played an hour of 16th- the process of selecting music, text and century polyphony—Ruffo, Ortiz, of Les Bostonades to program more illuminations—projected behind the Rossi and Merula, then English music. from the rich recorder repertoire. performers—used now and for BC’s Introducing Thomas Morley’s Christes Two evening Festival events per- 1991 Fauvel storytelling programs. The Crosse, Gulley explained that she plays haps didn’t showcase the recorder, but current cast is Cohen; Anne Azéma, a simple children’s alphabet song over they both showed its best side. director, Fortune; Michael Collver, and over; Tyson mentioned that it was The 5 p.m. concert by Ensemble Fauvel; Michael Barrett, Vain Glory; the most rhythmically complex piece Lucidarium (Gloria Moretti, Marie Shira Kammen, vielle, harp; Steven he’d ever seen—2 against 3, 7 and 9 Pierre Duceau, voice; Avery Gosfield, Lundahl, sackbut, recorder, harp. against 2, 8 against 10. Trying to hear recorder, pipe & tabor; Marco Ferrari, Fauvel as a character symbolizes the 8 against 10 didn’t turn out to be recorder, double flute; Francis Biggi, the depravity in France’s 14th-century the way to enjoy the piece; it was better lute, cetra; Bettina Ruchti, vielle, lyra da society, and thus changes (depending to just listen to the alphabet song and braccio; Massimiliano Dragoni, percus- on the source) from a man to a horse or hear how independent—yet enhanc- sion, hammer dulcimer) was entitled, donkey. The original Fauvel poem took ing—the other two lines were. “Ninfale: Ovid, Poetry, and Music at root in the literary underground, using “Newbie” New York-based ensem- the End of the Middle Ages.” This was symbolism to hide references to actual ble Fire & Folly aims to bring to audi- a direct take on the Festival’s theme, political events. BC’s English version ences the “improv” roots of Baroque taken from Ovid’s Metamorphoses, tells the story in bawdy couplets. music. Rachel Begley, recorders, which first spread through Italy in the Performed without break and Baroque bassoon; Abigail Karr, violin; early 14th century. Themes set forth by mostly without music or script, the Ezra Seltzer, ’cello; and Jeffrey Gross the master of rhetoric, mythology, his- semi-staged Fauvel called on all to sing man, harpsichord, shook the founda- tory and moral doctrine took root in or take up instruments at some point. tions of the Beacon Hill Friends House writings by Dante, Boccaccio, Petrarch, The busy wind player Lundahl often with the high energy program, “Mixed and others, passing into the musical played slide trumpet fanfares—notably Marriages.” The title reflects the idio- world to be set by Francesco Landini, in stereo with Collver’s cornetto. The syncratic nature of the trio sonatas per- Jacopo da Bologna and now-nameless music encompassed all styles from formed: instead of music for two of the composers who created the traditional Gregorian chant to polyphonic motets same instruments plus continuo, the Tuscan songs on this program. (in which it was handy to follow the ensemble selected works that “mixed Gosfield—from Philadelphia, PA, printed libretto, since two simultaneous and matched” music for winds and before studying recorder at Sweelinck texts, and all of the cast, were used). strings, high and low, and nationalities. Conservatory and Medieval music at Eventually, the powerful Fauvel The opening Vivaldi Concerto in D the Schola Cantorum—and Ferrari— marries Vain Glory, celebrated with a for recorder, violin and continuo featured Italian instrumentalist and Ticino bacchanalian feast. The alto recorder, an energetic dialog between Karr on Festival director—played Medieval which overall figured very little in the violin and Begley on voice flute, backed winds including recorders. Singer music, was then employed in an instru- by continuo. The strings, particularly Duceau joined them on flute occasion- mental quartet Floret ex favellea. the violin, played with intensity and a ally, notably in the rousing traditional sense of edginess, yet Begley’s virtuos- Saltarello ending the first half. Thursday, June 16 ity, tone colors and articulations were Recorders and flute provided Recorderist John Tyson started a mid- clearly present, never drowned out. florid decorations, ornate underlays day concert with a brief lecture about and sometimes melodies in a con- 16th-century polyphony. He and the Friday, June 17 stantly changing grouping of voices other Renaissonics members (Laura With a muggy morning bringing the and instruments. Anyone who arrived Gulley, violin; Daniel Rowe, ’cello; threat of rain, recorder fans made their thinking of Medieval repertoire as Miyuki Tsurutani, recorders, harpsi- way to St. Paul’s Cathedral for the two- “minor” or as music that “all sounds chord) showed how the madrigal hour ARS Great Recorder Relay. alike” left with changed ideas. The Dormendo un giorno by Verdelot was A frequent Relay participant, audience of 200 demanded an encore. turned into an instrumental chamber Pentimento—Eric Haas, recorders; After dinner, the audience more piece by Vincenzo Ruffo. The lyrics Olav Chris Henriksen, lute, cittern— than doubled to welcome the Boston 12 September 2011 American Recorder opened the vignettes, deftly showing around Niobe’s pride in her sons and how melodies from the 15th-century “Get your polyphonic daughters; at one point, she exhorts Glogauer Liederbuch were metamor- groove on” was the her subjects to revere them as gods. phosed by later composers up to Lud enticing description. Her husband, the king Anfione, wig Senfl. Their “comic relief ” dances gladly cedes his ruling power to her. included a rousing Der Zenner Tanz, (Kruskal ‘s tenor) and nightingale Niobe is wooed by someone she thinks its bagpipe fifths ending with a falling (Warnock’s alto) of Jehan Vaillant’s is the god Mars. He is really a human sigh from Haas’s soprano recorder. virelai Par Maintes Foy was a highlight. enemy; she swears revenge on the gods, Ensemble Passacaglia from nearby After visiting at the end, many who punish her: Thebes is destroyed, Cape Cod took the stage next—Jan moved to a different room at St. Paul’s her children killed, and Anfione takes Elliott, recorders; Molly Johnston, to honor ARS Presidential Special his own life in despair. As he dies, she gamba; Tom Hanna, lute; Lisa Esper Honor Award recipient Louise Austin. is turned to stone by her grief. son, percussion. Playing almost sans The longtime teacher surely was grati- The singing in Niobe was superb break, one lively folk song flowed into fied to hear her student of many years, —most especially that of near-colora- a more contemplative cantiga to the John Gauger, play a tribute with ARS tura countertenor Philippe Jaroussky Virgin Mary; an exotic 12th-century President Lisette Kielson, the swing- as Anfione. The comic relief of José Sephardic piece, Una Matica de Ruda, ing Late Vacation (from five Jazzy Duets Lemos, singing flawless falsetto as the showed the group’s interweaving of by James Rae; see this issue’s Tidings). nurse Nerea, also gave insights into melodies and countermelodies to be A pleasant walk (the rain having the complicated romantic subplots. skillful and enjoyable. passed) to the Radisson Hotel led to Even though Steffani is described While the duo of Emily O’Brien, the ARS coached playing session, as having a “love of textural variety” in recorders,and Sarah Darling, viola, ably which drew attention from passersby his orchestrations, Niobe relies heavily began with a Telemann Duetto, it was alighting from the nearby elevator to on the near-constant playing of its five- in a piece composed by Emily’s father, visit the six-floor exhibition. member continuo. The winds, and even Michael O’Brien, that she showed that “Get your polyphonic groove on” often the strings, sat for long stretches. she comes by her talent naturally. Songs was the enticing description of a late- Recorders figured in a few spots, from Home opened with a haunting afternoon jam session hosted by Ren well-played by Gonzalo Ruiz and Oratorio; a second section was an aissonics and Hesperus at nearby Kathryn Montoya. In a bucolic scene, accented dance employing Old Dan Rustic Kitchen, www.rustickitchen.biz, a bear ambles onto stage; recorders play Tucker (in case we had forgotten the which was packed until the musicians along when he is subdued by Tiberino words, Emily recited them unhesitat- set down their instruments a couple of (saving Manto, with whom he falls in ingly beforehand). O’Brien’s alto and hours later. Familiar grounds like La love—one subplot). The recorders sere- tenor recorders swerved nimbly Follia allowed improvisers to shine, nade the bear at a later reappearance. through the familiar melody with fid- including John Tyson on recorders and More significant perhaps was the dle-like playing from Darling. Tina Chancey on viols. The audience use of recorders when Anfione is in his Rachel Begley, alto recorder, voice joined in, singing along and (Renais Palace of Harmony, where he spends flute; Abigail Karr, violin; Ezra Seltzer, sance) dancing in the crowded aisles. his time after relinquishing his throne. ’cello; and Jeffrey Grossman, harpsi- One could hardly imagine the While he contemplates the movement chord, brought a pair of trio sonatas by contrasting transition from boisterous of the spheres, ethereal and almost Telemann and Vivaldi from their Fire Renaissance improvisation to staged hypnotic music accompanies his aria. & Folly concert. A solid sense of Baroque opera. BEMF’s Niobe, Queen ensemble was evident in the interplay of Thebes (music by Agostino Steffani; Saturday, June 18 between soloists, among soloists and libretto by Luigi Orlandi after Ovid’s As Bostonians began to assemble for the continuo members, and in their Metamorphoses, Book VI) was nearly their triumphant hockey team to be resonant intonation. Their approach to four hours of staged spectacle. paraded in duck boats through town, cadences was unified and flawless. Steffani (1653-1728), kapellmeister early musicians arrived even earlier: the Entering from audience right, the to Maximilian II Emanuel, Elector of parade route bisected the day’s events, Karen Kruskal Brian Toni Trio ( and Bavaria, was directed by his patron to the exhibition on one side, and many Warnock with their teacher Sarah compose an opera. Premiered in 1688 fringe event venues on its other side. Cantor) played from memory their in Munich, Niobe was the first of sev- Lucky ones arrived early and just first segment, pieces from the 14th- eral operas by Steffani based on Greek stayed inside the Radisson for a morn- 15th centuries plus a J.S. Bach gavotte. myth. With the general message that ing family program, “Music for the The charming dialog between cuckoo “pride comes before a fall,” it revolves King’s Court,” by BEMF’s director of www.AmericanRecorder.org September 2011 13 education David Coffin. While setting Frank Fitzpatrick played the way to end a concert by an attractive up recorders and other instruments, he vivace from Telemann’s Sonata in F and cohesive ensemble that pleases the commented, “This is about as close as major, accompanied by Judith Conrad listener with its virtuosity and warmth. we’ll be to Lord Stanley’s cup. Maybe on the harpsichord. Van Heygen dis- we’ll break into a tune when it goes cussed how to have a good ensemble Sunday, June 19 by—are there hockey tunes?” start—everyone must breathe together. The last mid-day event was an Younger audience members were One trick is to have the ensemble play impressive concert by BEMF’s featured engaged in his hourlong revelation with their backs to each other; surpris- recorder artist, Peter Van Heyghen, of the development of instruments. ingly, everyone will start together. with three younger players (Susanna Present with two granddaughters were The final group was Sarah Cantor Borsch, Patrick Denecker, Thomas Friedrich von Huene Brian War Inge and , from and two of her students, List) using a matched set of Adrian nock Karen Kruskal whom Coffin had borrowed a column and . They played Brown recorders. They were joined— flute to play along with many recorders. Questa Fanciull’ amor by Landini on seemingly as an afterthought—by recorder master Unavoidably, the alto and two tenor Renaissance record- lutenist Paul O’Dette in a concert class by Peter Van Heyghen coincided ers (part of their ARS Relay program). made possible by “leadership support” with the Boston Bruins victory parade. Van Heygen said to play from parts, from the ARS, as well as individuals At least one player walked all the way not score, to avoid playing too verti- from our community: Amanda and around the parade, arriving breathless cally. Another suggestion he had for Melvyn Pond, and Patsy Rogers. and 15 minutes late. Others didn’t increasing horizontality of a piece is Mezzaluna, the recorders, per- arrive in time to do the warmup and to tune the leading tones higher, thus formed familiar and not-so-familiar relaxation they would have liked. increasing tension before resolution. pieces from the Odhecaton, Canti B and Once the playing began, it was More challenges presented by the Canti C. O’Dette dazzled as usual with clear to all that Van Heyghen is pas- Bruins Stanley Cup victory parade, lute pieces by Spinacino and Dalza. sionate about how to play the recorder, which still marched, staggered and Everything on the program was pub- and would tell all that he knows. screamed its way near BEMF fringe lished by the remarkable Ottaviano Yuan- The first performer was venues, did not deter those who ducked Petrucci, pioneer of the art of music Chih Chen , a Peabody Conservatory and dodged their way to hear “The printing, in the early 1500s. student; he played the Largo from the Northern Star,” Ensemble Vermillian’s It would have been nice to hear Veracini Sonata in A minor, written engaging late-day concert of Baroque Mezzaluna and O’Dette perform c.1700. After a brief analysis of what music held at the acoustically-friendly together more; one might surmise “Largo” and “A minor” might have Church of the Covenant. that they did not because of limited meant to Veracini, Van Heyghen dis- Founded by sisters Barbara rehearsal time. It was interesting to cussed “ugly” alternative fingerings. Blaker Krumdieck, Baroque ’cello, and hear different versions of the chanson Frances Blaker Chen had used one on a cadence , recorders, for this con- Malor me bat played by Mezzaluna before the coda. Van Heyghen felt that cert the group comprised David Wil (Ockeghem) and O’Dette (Spinacino). the final note confirms the key, and son, violin; Henry Lebedinsky, Baroque To recorder players, it was gratify- should ideally crescendo to the end; a organ; and William Simms, theorbo ing to hear some of the first-ever soft fingering there doesn’t achieve this. and Baroque lute. The concert opened instrumental ensemble music played Jean Burke Next was , who played with Blaker’s transcription of Buxte with finesse and, for the most part, per- Ernst Krämer’s Divertimento in C. He hude’s Sonata in G, here performed fect intonation. On only one piece, the started by telling her that she had the with violin and alto recorder soloists. popular Tsat een meskyn by Obrecht, primary requirement for playing the Blaker’s alto recorder, by Peter van der did the group allow themselves some piece, which was “wit.” Being in the Poel after Stanesby, has a lovely tone. slightly gimmicky ornamentation. tradition of variations by people like Particularly impressive was Blaker’s For recorder enthusiasts in the Gioacchino Rossini, the piece should sound quality and the fluidity of her audience, the metamorphosis of be played with a bel canto vocal style. rapid passagework—done with grace BEMF 2011 was complete with In a piece that lacks an accompa- and ease, but without the overwrought, Mezzaluna’s final notes. Like butter- niment, it’s important that liberties not “in your face” flamboyance one often flies, all flew away home. prevent the audience from hearing the hears in this kind of repertoire. With sincere thanks to these rhythm—they should know whether Buonamente’s Ballo del Gran Duca volunteer reporters: Martha Bixler, you’re playing triplets or 16th notes. Be is a charming dance based on a wildly Charles Coldwell, Laura Conrad, Alan very clear that you “hear” an accompa- popular melody and ground bass by Karass, Bonnie Kelly and Nancy Tooney. niment, and make the audience hear it. Emilio de Cavalieri. It was a perfect 14 September 2011 American Recorder ______On the Cutting Edge ______Ensemble Spark—a band pushing the classical envelope
[email protected] www.YouTube.com By Tim Broege, , the ensemble does Perhaps the most surprising not use amplification. More than 30 wo topics I have dealt with in col- different recorders are used by Ritter of their arrangements umns appearing in recent years— and Koschitzki, including giant contra is their version of the “modern”T recorders and recorders in bass recorders plus the Helder tenor pop song Can’t Take mixed ensembles—are brilliantly (quite loud, with plenty of keys). My Eyes Off of You. united in the music of the new When writing about the Helder German group of young musicians tenor some time ago, I pointed out that Composers represented include Chiel called Spark. This ensemble was this instrument was designed to hold Meijering (well-known to guitarists), founded by Andrea Ritter and Daniel its own dynamically with modern whose composition Harde Puntjes Koschitzki, two outstanding recorder orchestral instruments. In the YouTube includes “beats” provided by the young players with ties to the Amsterdam videos from Spark, no matter what German “human beatbox” Robeat. Loeki Stardust Quartet. recorders are used—even traditional Also played are two works by the ubiq- Spark is a quintet with the two altos or sopranos—the balance is fine. uitous Michael Nyman, plus American recorderists, plus violinist Stefan The group has recently released a composer Kenji Bunch’s Groovebox Glaus, ’cellist Victor Plumettaz and CD entitled Downtown Illusions. Very Variations. More traditional classical pianist Jutta Rieping. As evidenced much in contemporary style, the pro- pieces included on the CD are Aprés by a number of videos available on gram is eclectic and entertaining. un réve (“After a Dream”) by Gabriel Fauré; an instrumental movement from a Bach cantata; and a concerto by Vivaldi. Spark is quite imaginative in their adaptations of the old pieces. Perhaps the most surprising of their arrangements is their version of the pop song Can’t Take My Eyes Off of You (a big hit in 1967 for Frankie Valli and the Four Seasons). It can be viewed on YouTube, and shouldn’t be missed, if for nothing else than the humorous style of presentation. The CD is available on the inde- pendent label ARS (ARS38084). OnYouTube.com, the following Spark videos are especially recommended: • “Downtown Illusions”—a trailer, available in English or German • “Tango Heavy” • “Can’t Take My Eyes Off of You” • “Aprés un réve” • “Deux Guitares” This is definitely music very much of our present time—and further proof of the adaptability of the recorder to vibrant contemporary performance. www.AmericanRecorder.org September 2011 15 THE RECORDER IN PRINT: 2009, Part II WHAT’S BEEN WRITTEN ABOUT THE RECORDER IN OTHER PUBLICATIONS AROUND THE WORLD
By David Lasocki History and General white ferrules, five in all ... Three Timothy J. McGee’s new book looks recorders with silver ferrules in a case The author writes about woodwind at the place of music and musicians in garnished with silver” (Uno giuocho di instruments, their history, repertory, and the public ceremonies of Florence, Italy, zufoli grossi in una guaina ... Uno giuocho performance practices. The third edition of during the late Middle Ages and early di zufoli a uso di pifferi cholle ghiere nere his book with Richard Griscom, Renaissance. Instrumentalists were e bianche, sono zufoli cinque ... Tre zufoli The Recorder: A Research and “involved with both sacred and secular chon ghiere d’argento in una guaina Information Guide, will be published by ceremonies: leading processions, work- guernita d’argento....). In the 15th Routledge later this year. He has just ing with the military, announcing the century, zufolo was apparently a retired from his position as Head of official presence of the executives of local Florentine term for recorder. Reference Services in the Cook Music government, and providing music for McGee writes of the latter inven- Library at Indiana University and is numerous large and small occasions” tory: “This is a clear indication that the now devoting himself to finishing a (p. 2). We know from inventories that civic musicians took part in the cham- history of the recorder for Yale University the city’s pifferi (an ensemble that ber music during [Lorenzo’s] private Press (and many other unfinished could play both wind and stringed entertainments, where they would have writings and editions) as well as to the instruments) had recorders. joined with singers from the various practice of energy medicine. See his McGee suggests that the Bar- church choirs, the Medici household web site, www.instantharmony.net. tholomeo Cecchini of Urbino who musicians, and the talented guests.... Lasocki is a recipient of the ARS was appointed in Florence in 1405, The five instruments at his palace were Distinguished Achievement Award. but listed in the pay records only for undoubtedly purchased as a set so that one year, may have been the Bartolo they would match in ... intonation and He had anticipated writing no more meo, piffero of Count Guido of tone color...” (p. 183). articles in the “Recorder in Print” series Urbino, “who made four ... flauti, McGee claims that “until around after the 2008 edition, but the need to probably recorders, for the Brescia 1500, the single-line instruments were compile the 2009 and 2010 entries for the pifferi” in 1408 (p. 147). That may well played almost exclusively by profession- Routledge research guide has given him be, but we have to be careful about dif- als whose qualifications included the the natural opportunity to write two ferentiating supplying musical instru- ability to improvise and ornament more editions in the series. ments from making them. The pur- music spontaneously.... All of the anec- chase record in Brescia says only: dotal reports [of amateurs have] no This report, part two of the 21st in a “Bartolomio of Urbino, pifaro of mention of them playing ... recorder.... series (part one appeared in the May Count Guido of Urbino, for four new By the third decade of the 16th century 2011 American Recorder), covers books recorders which are sent to Brescia to ... apparently ... it had become fashion- and articles published in 2009 that the Seigneur by his command.” able for amateurs to play some of the advance our knowledge of the recorder, its As for instruments in Florence, single-line instruments—winds and makers and players, its performance prac- the inventory made on the death of bowed strings—and from that point tice and technique, its repertory, and its Piero di Cosimo de’ Medici (1463) on there are manuscripts and printed depiction in works of art in the past or includes “Four Flemish recorders, books intended for amateur single-line present. To save space, articles that Three of our recorders, Three recorders instrumentalists” (pp. 227-28). Cer appeared in AR are omitted. A few pre- decorated with silver” (Quattro zufoli tainly, the evidence of publications as viously unreported items are also included. fiaminghi, Tre zufoli nostrali, Tre zufoli well as Silvestro Ganassi’s famous trea- Readers can obtain most items through forniti d’ariento); and that of Lorenzo tise Fontegara (Venice, 1535) strongly libraries (either in person at a large de’ Medici (1492), “A set of large suggests “the burgeoning amateur music library or from their recorders in a case ... A set of recorders interest in single-line instruments” by local library via interlibrary loan). for the use of the pifferi with black and the 1530s. But the timing of the begin- 16 September 2011 American Recorder Perhaps the most negative feelings about music: “I hated that damned playing so much, and it celebrated man ever to truly seemed like being in Paradise the entire year I stayed in Pisa, where play the recorder profes I never played at all.” sionally was ... Benvenuto Returning home from Pisa because of sickness, Benvenuto asked Cellini (1500-1571). his sister to bring him a recorder, and “even though I continued to have a ning of such interest is belied by his fever, the recorder was an effortless earlier comment about the artists and instrument and ... I played it with such humanists who frequented the resi- beautiful fingering and tonguing that dences of Lorenzo de’ Medici (1449- when my father came upon me unex- 1492). McGee names one of them as pectedly, he blessed me a thousand the painter Filippino Lippi; he does times, telling me that in the time I had not say so in the book, but Lippi left a been away it seemed to him that I had number of musical instruments at his made great progress, and he begged death in 1504, including “five good me to go on with my playing, so that I recorders in a bag” (5 zufoli buoni in should not lose such a beautiful talent.” una sacchetto). Finally, Benvenuto sat in with the One of the pifferi in the late Medici Pope Leo X’s eight musicians 15th and early 16th centuries was in Rome, playing “the soprano part of Giovanni Cellini, “a Florentine and some beautiful motets” on the cornetto. one of the few locals appointed to the The group rehearsed for two hours a pifferi after the 1443 legislation that day for eight days before the perfor- Raffaello Romanelli’s 1901 restricted appointment to foreigners mance; as a result, “we played these bust of Benvenuto Cellini only” (p. 208). Giovanni was also a tal- motets with such precision that the at the Ponte Vecchio ented engineer, instrument maker, and Pope had to admit he had never heard in Florence, Italy. artist. Perhaps the most celebrated man music played more delicately or harmo- ever to play the recorder professionally niously.” The Pope offered Benvenuto was his son, the sculptor and goldsmith a position among his musicians, with Benvenuto Cellini (1500-1571), who the promise of artistic work besides. joined in with the pifferi as a child, He accepted, for his father’s sake, but and later also studied in Bologna. never mentions being called upon McGee notes that Giovanni to play his “damned” music again. taught Benvenuto to play the recorder Timothy J. McGee, The Ceremonial (and apparently cornetto), to sing, and Musicians of Late Medieval Florence to compose. But McGee does not tell (Bloomington & Indianapolis: us that when Giovanni’s position in Indiana University Press, 2009); the pifferi was taken away from him David Lasocki, “A Listing of Inven by the newly elected Standard-bearer tories and Purchases of Flutes, Record (Gonfaloniere) of Florence in 1514, ers, Flageolets, and Tabor Pipes, 1388- Benvenuto thereby lost the right to 1630,” available from http://library. succeed him in the position. music.indiana.edu/reference/ As Benvenuto reported in his inventoriesto1630.pdf; Benvenuto famous autography, La vita: “This Cellini, La vita, a cura di Lorenzo was the reason why I dedicated myself Bellotto (Parma: Fondazione Pietro to the goldsmith’s trade; part of the Bembo/Ugo Guanda Editore, 1996); time I spent learning that craft and My Life, transl. Julia Conaway Bon part of the time I played, though much danella and Peter Bondanella (Oxford: against my will.” Later he confirms his Oxford University Press, 2002).
www.AmericanRecorder.org September 2011 17 “The study of urban City Musicians and Music in Renais (Seventy-five pretty songs for soprano, sance Valladolid,” Early Music 37, no. 3 alto, bass, and tenor, pleasant to sing; music has often been (August 2009): 367-78. also quite a few to use charmingly with focused on court or church Ulrich Scheinhammer-Schmid’s recorders, flutes, and other musical otherwise informative article on the instruments; Cologne: Arnt von Aich, studies and, as a result, relationship of the Fugger family of 1519) does not identify which songs the analysis of music and Augsburg to music in the 16th century would have been suitable for recorders, music-making has been mentions recorders without noting the but almost all of them can be played research that has been done on them comfortably on a standard four-part largely limited to these two recently by other scholars. The pro- recorder consort (discant, two tenors, particular environments.” ceedings of the 2003 Utrecht sympo- and basset). sium contain two contributions that As Scheinhammer-Schmid does Cristina Diego Pacheco notes should have been taken into consider- note, Fugger himself bought collections that “The study of urban music has ation. The first is Eva Legêne’s work of instrumental music published by often been focused on court or church on columnar recorders, a set of which Tielman Susato (1551), the Hess studies and, as a result, the analysis of is found in the inventory of the banker brothers (1555), and Jean d’Estrée music and music-making has been Raymund Fugger Junior (1566): “One (1559), presumably for his own music- largely limited to these two particular set of nine columnar recorders in a making. Ulrich Scheinhammer- environments.” Instead, she proposes black case covered with leather” (1 Schmid, “Die Familie Fugger und die and illustrates the “new vision” of exam- Muda mit 9 Fletten Columnen in einem Musik—Flöten, Noten und das große ining the place of music in “the whole schwartzen Trüchle mit Leder verzogen). Geld,” Tibia 34, no. 1 (2009): 337-46; social system.” The second is my own compre- Eva Legêne, “Music in the Studiolo Valladolid in the 16th century hensive listing of members of the flute and Kunstkammer of the Renaissance, was one of Spain’s richest cities and family in inventories, which puts the with Passing Glances at Flutes and also one of the kingdom’s capitals under Fugger collection into context. The first Recorders,” in Musicque de Joye: The Holy Roman Emperor Charles V, group of recorders in the 1566 inven- Proceedings of the International who sometimes kept his Court there. tory—“a large case, in it twenty-seven Symposium on the Renaissance Flute Although only the nobility and royal recorders, large and small, made in and Recorder Consort, Utrecht 2003, administrators could afford keyboard England” (ain groß Fueter darin 27 ed. David Lasocki (Utrecht: STIMU instruments, the vihuela and the guitar Fletten. groß vnd klain Im Engelandt Foundation for Historical Performance were universal, being mentioned in the gemacht worden)—was doubtless made Practice), 323-61 at 344-45; Lasocki, probate inventories of citizens of all by the Bassano family in London, as “A Listing of Inventories and Pur social classes. Recorders, in contrast explored in my book on the family. chases of Flutes, Recorders ... 1388- to their use in Italy during the same Moreover, Scheinhammer-Schmid 1630”; Lasocki with Roger Prior, period, “appear mainly in lower-class cites the intriguing listing in Fugger’s The Bassanos: Venetian Musicians and inventories,” of which the author alas collection of music, “Teutsche Lieder Instrument Makers in England, 1531- cites only one: the undated inventory auf die fletten. Und ande Instrument” 1665 (Aldershot: Scolar Press; Brook of Toribio Hernández, a man who (German lieder for recorders and field, VT: Ashgate, 1995); Richard “rented out donkeys” (alquilador de other instruments). Scheinhammer- Schaal, “Die Musikbibliothek von mulas). A ministril (professional wind Schmid does not say so, but this print Raymund Fugger d. J.,” Acta musicolog- player) named Pedro Crespo, who belonged to the part of the collection ica 29 (1957): 126-37 at 129; Peter Van worked for the collegiate church of stemming from Fugger’s father, Ray Heyghen, “The Recorder Consort in Valladolid around 1570-1589, did not mund Senior (1489-1535), so it was the Sixteenth Century: Dealing with own any recorders, but rather soprano probably the one discussed in another the Embarrassment of Riches,” in and tenor shawms, five cornetti, and article in the Utrecht symposium, Peter Musicque de Joye, 227-321 at 229-31. a jabega, which the author calls a Van Heyghen’s on the 16th-century The philosopher George San “Moorish flute,” although the term recorder consort. The print LXXV. tayana famously remarked, “Those may have referred to a standard Ren Hubscher Lieder myt Discant. Alt. Bas. who cannot remember the past are aissance flute by that time. Cristina und Tenor. lustick zu singen. Auch fleiten, condemned to repeat it.” Philippe Diego Pacheco, transl. and rev. John schwegelen und anderen musicalisch Bolton does not remember, or per- Griffiths, “Beyond Church and Court: Instrumenten artlichen zu gebrauchen haps does not know, that Dale Higbee
18 September 2011 American Recorder Philippe Bolton’s four-part tenor recorder after Thomas Stanesby (photo by Philippe Bolton). wrote an article about Thomas tle low. These problems have to be and 31 were not found at all. David Stanesby Junior’s A New System of the solved by [modern] makers to make an Lasocki, A Listing of Inventories, Sales, Flute a’ bec or Common English Flute acceptable copy.” Philippe Bolton, and Advertisements relating to Flutes, (London, 1732?), as long ago as 1962, “Thomas Stanesby Junior’s ‘True Recorders, and Flageolets, 1631-1800 and even included a facsimile of the Concert Flute,’” FoMHRI Quarterly, (Bloomington, IN: Instant Harmony, pamphlet. Bolton provides a transcrip- no. 111 (February 2009): 19-22 2010; available as an e-book from www. tion of the text rather than a facsimile (Comm. 1837); Dale Higbee, “A Plea instantharmony.net/Music/available. as well as a short discussion that for the Tenor Recorder by Thomas php); Lasocki, “Lessons from Invento includes some garbled extracts from Stanesby Jr.,” Galpin Society Journal 15 ries and Sales of Flutes and Recorders, the already garbled information in Sir (1962): 55-59; George Santayana, The 1650-1800,” in Flötenmusik in John Hawkins’s A General History of the Life of Reason or the Phases of Human Geschichte und Aufführungspraxis Science and Practice of Music (London, Progress, 2nd ed. (New York: Charles zwischen 1650 und 1850: XXXIV. 1776), as passed on by the Encyclopædia Scribner’s Sons, 1924), I, 284. Wissenschaftliche Arbeitstagung Perthensis (Edinburgh, 1816). After publishing my “A Listing Michaelstein, 5. bis 7. Mai 2006, hrsg. The pamphlet proposed making of Inventories and Purchases of Boje E. Hans Schmuhl in Verbindung the tenor recorder rather than the alto Flutes, Recorders ... 1388-1630,” men- mit Ute Omonsky, Michaelsteiner the standard instrument of the family, tioned above, I researched a similar list- Konferenzberichte 73 (Augsburg: to avoid the trouble of transposing ing for the period 1631-1800. This Wißner; Michaelstein: Stiftung music for the flute, oboe or violin (“in time I was able to include material Kloster Michaelstein, 2009), 299-330. their compass”), although Stanesby from two other types of source: catalogs The American newspaper adver- acknowledged that “Gentleman who of book sales; and advertisements in a tisements also formed the basis of my like the Instrument [recorder] ... may recently-developed facsimile database article on the recorder and flageolet in be unwilling to learn any new Scale”— of 18th-century American newspapers. Colonial North America and the U.S., or in other words, C-fingering rather (I published the material, along with 1700-1840. The ads furnish a wealth than the F-fingering they know. more from similar databases of British of information about recorder teachers, Bolton’s new contribution is and colonial newspapers, in 2010— players, sellers, and makers that has his comments on a tenor recorder by a story for next year.) been virtually unknown to scholars Stanesby found in the Musée de la My contribution to the 2006 flute of the instrument. As in England, the Musique, Paris (No. E.980.2.86); see symposium in Michaelstein, Germany, recorder played a role in musical life, http://mediatheque.cite-musique.fr/ was an article analyzing my findings at least as an amateur and educational masc. from 1650 to 1800, producing four instrument, that lasted the entire 18th Stanesby made “a tenor recorder new perspectives: (1) terminology: century and into the early 19th. with a completely different look from what recorders were called in different Thirteen teachers advertised the traditional recorder shape. It was countries at different times; (2) sizes over the period 1713-1771 in Boston, made in four parts, with a separate joint of recorder: which ones survived Charleston, New York, Philadelphia for each hand, and a foot resembling through the Baroque and into the and Williamsburg. Except for Mrs. that of the flute. This new recorder had Classical period; (3) information about Dickson in Philadelphia (1744), who a definitely solo character. Its wide bore special kinds of recorder: flutes with a worked with schoolgirls, they did not gave it a beautiful tone quality reminis- recorder mouthpiece, walking-stick exclusively teach the recorder, or even cent of that of the baroque flute. Its (cane) recorders, and double recorders; woodwind instruments, but made their foot was bored with a double hole giv- (4) makers: no fewer than 101 makers living with a variety of other instru- ing an easy c#... It is a long instrument, or families are named in inventories, ments as well as singing. not really for small hands.... There are sales and advertisements of this period, No professional musicians are a few tuning problems. Some of the of which six were known to William mentioned as playing the recorder, but octaves are wide, especially g, and the Waterhouse’s New Langwill Index only a variety of amateurs did, including a medium notes from b to eb are all a lit- from inventories or advertisements; sea captain, a shopkeeper, two doctors, www.AmericanRecorder.org September 2011 19 a plantation owner, and an innkeeper, No professional musicians (see part I in the May AR) that in prac- not to mention four runaways: two ser- tice there were up to three players per vants and two slaves. Fifty-three are mentioned as play- part as early as 1658. American sellers in 11 cities advertised ing the recorder, but Certainly, doubling a recorder recorders in the century from 1716 to a variety of amateurs line became common in the early 18th 1815, less than ten percent of whom did, including a sea century, as in Johann Sebastian Bach’s were in the music business. captain, a shopkeeper, church cantatas and St. Matthew Pas The bulk of the ads fall in the sion, the operas of George Frideric period 1752-1777, with a peak in two doctors, a plantation Handel and Georg Philipp Telemann, 1766-1767. Recorders were imported owner, and an innkeeper, and a masque by Johann Ernst Gal throughout the 18th century—always not to mention ... two liard. In the opera Jephté by Montéclair, from England when a country is servants and two slaves. there is an air for soprano and five-part named. American makers advertised recorder consort in which all the parts recorders between 1761 and 1775: two 1840, from Newspaper Advertise are doubled (petits dessus, haut-contres, makers of German origin (Gottlieb or ments,” Journal of the American Musical tailles, quintes, basses). Similarly, the David Wolhaupter and Jacob Anthony) Instrument Society 35 (2009): 5-80; Concerto di flauti by Alessandro Mar and one English (Joshua Collins). available as a free download from cello doubles sopranos, altos, and tenors Although some advertisements refer http://instantharmony.net/Music/ (flauti soprani, contralti, and tenori) with to “all sizes” of recorder, they in fact miscellaneous.php. only one basset (un flauto basso), all document a shift in the history of the Peter Thalheimer traces the his- doubling muted strings. Thalheimer instrument towards a concentration tory of recorder ensembles with more posits that “The beginnings of doubled on the upper sizes, between alto and than one instrument to a part in four recorder ensembles lie in the early sopranino. stages. In the first stage, although period of the Baroque recorder and in As interest in the recorder waned Michael Praetorius (1619) mentions an the orchestral practice of that time.” towards the end of the 18th century, enormous Accort oder Stimmwerk of 21 The third stage bypasses the 19th the flageolet came in to take its place. recorders in eight sizes, he says nothing century, a time of soloists and virtuoso Ironically, the so-called English flageo- about how many of them can be played playing, and starts with the renewed let, invented in England in the 1790s, together. And even though a number of interest in the recorder in England and was a recorder in everything but name, pieces for recorder consort have sur- Germany in the 1920s. Peter Harlan having seven fingerholes and a thumb- vived from the mid-17th century, none set up the first recorder “choirs” and hole. Through various patents, regis- of them were apparently played with “for the first generation of self-taught tered or otherwise, it underwent rapid more than one instrument to a part. recorder players solo playing was more development over the next 20 years, For the period through 1680, a stopgap—recorder ‘choir’ playing, largely to reduce the tendency for the Thalheimer claims that when several in contrast, the highest ideal.” The windway to clog with moisture (wind instruments shared a part, it was to Jugenbewegung in Germany and chamber and sponge), to change the produce a mixture of colors (e.g., winds, later the Society of Recorder Players basic scale in relation to the fingerholes, bowed strings, and plucked strings). in England encouraged such playing. to extend the range, and to make the This is in contrast to modern recorder The fourth stage lasted from the octaving function easier for amateurs orchestras, or even groups such as the end of World War II in 1945 to about (reduction or abandonment of the Royal Wind Music, who represent a 1970 in Germany, supported by the thumbhole). Keywork was also gradu- modern approach to doubling. newly-founded people’s and youth ally added, as on the flute. In the second stage, the first exam- music schools. After a focus on solo The American ads provide ample ple of a doubled part that Thalheimer playing in the 1970s and ’80s, recorder evidence that, even more so than the reports is the top part in the four-part “orchestras” have now taken off. And recorder in the 18th century, the flageo- recorder consort in Jean Baptiste 2008 saw a new development in the let was widely played and taught in the Lully’s Le Triomphe de l’Amour (1681), form of a Chamber Recorder Orches first four decades of the 19th, as the which calls for “alto recorders or flutes” tra—playing, ironically, one on a part.... article examines in detail. David (tailles ou flutes d’Allemagne). That may Peter Thalheimer, “Vom Blockflöten Lasocki, “New Light on the Recorder have been the first part labeled for more chor zum Blockflötenorchester: and Flageolet in Colonial North than one recorder, but we know from Stationen im Wandel einer Spiel America and the United States, 1700- the livrets of Lully’s operas and ballets praxis,” Tibia 34, no. 3 (2009): 493-501.
20 September 2011 American Recorder Performance Practice Rightly observing that the Rognoni, deriving from it some basic In the history of articulation on the articulation practice of Bartolomeo rules. (1) A group (phrase) always recorder, everything goes back to Bismantova (1677) brought up the begins with te. (2) Re is always found Ganassi’s Fontegara in 1535. (Inciden end of “this” (essentially the Renais on an unstressed note value. (3) The tally, I wish authors would not call the sance) tradition, Kubitschek makes first long note after a passagio (orna- treatise La Fontegara: the main part of an astonishing statement about Bis ment or diminution) and also the final the title, Opera intitulata Fontegara, mantova, a professional wind player: note of a motive receives the softest means “work entitled Fontegara.”) “One almost has the impression that syllable, le. (4) Repeated notes always In examining the early history of the main interest of this author lay take the hardest syllable used here, te. wind articulation, Ernst Kubitschek not in the area of playing technique (5) The wide variety of syllables of the notes that by the late 18th century but more in a summarized description earlier treatises has vanished, especially articulation syllables were being com- of an art that he himself did not prac- hard syllables such as te-che. (6) The pared to a language, and Johann tice at all.” Evidence, please. commonly found sequence te-re-le-re George Tromlitz (1791) coined the We cannot afford to dismiss can be used both as a double tonguing term “flute language” (Flötensprache). such an important author out of hand and a single tonguing. (7) One of the Nevertheless, Kubitschek points because he seems old-fashioned. Bis trills in 32nd notes has no syllables out that Martin Agricola in the second mantova wrote what may have been and so is presumably slurred. Ernst edition of his Musica instrumentalis the first instructions for the Baroque Kubitschek, “Zur Zungentechnik im deudsch (1545) had already used the recorder (the version of the manuscript Frühbarok,” Tibia 34, no. 4 (2009): term “Linguae Tibicinorum applicatio.” that has come down to us is that pre- 562-70. Kubitschek wonders whether the pared for the printer in 1694) and was Incidentally, two famous modern information on tonguing syllables also familiar with the “French flageolet” wind players, Edward Tarr and Bruce that appears out of nowhere in that (Fasoletto, o’ Flautino Francese) and Dickey, have produced a splendid edition stemmed from a familiarity some aspects of French performance “source book” on wind articulation with Ganassi, without observing that practice. He even has examples of slurs through 1795. It consists of the relevant Ganassi used the term “lingua” for a for the cornetto (in pairs of eighth excerpts from the major treatises in tonguing syllable—a further clue to notes, tongued te-a) and for the facsimile and in German and English possible influence. recorder (six 16th notes covered by a translation (or transcription) together Moreover, Kubitschek mentions single slur, tongued de-a-de-a-de-a). with an excellent commentary and that Francesco Rognoni Taeggio The fact that he calls the alto (in G) footnotes. Recorder sources included (1620) called the hard tonguing “Flauto Italiano” is a valuable clue to are Ganassi, Agricola, Cardano, Mer sequence te-che “barbaric,” and claims the development of the Baroque that Ganassi treats it as “equal in value instrument, normally ascribed to to the soft” sequences. Ganassi in fact French makers around 1660. states that te-che “produces a raw and Kubitschek goes on to summarize harsh effect” (causano effetto crudo & the various tonguings of the early writ- aspro). Furthermore, Kubitschek enun- ers, then presents a practical method ciates the basic principle that “until for learning them systematically. He well into the seventeenth century each concludes with a useful example from note was fundamentally begun with a clear tongue action.... The slurring of sequences of notes was acceptable only in particular musical situations.” Yet Ganassi had already told us: “There is another tongue stroke that produces no syllable, and its movement is made from one lip to the other” (& trouasi Cornetto player unaltra lingua laquale non proferisse Bruce Dickey (l) and sillaba niuna & il moto suo si e da uno natural trumpeter labro a laltro)—presumably a form Edward Tarr (above). of slurring.
www.AmericanRecorder.org September 2011 21 senne, Bismantova, Freillon Poncein, The authors conclude, Instrument Makers Loulié, Hotteterre, Schickhardt and and Making Prelleur. My only complaint is that surprisingly, with a It has previously been known that the they did not distinguish the two ver- woodwind maker John (Johan) Just sions of Etienne Loulié’s recorder tutor. list of careers open to Schuchart seems to have emigrated to Edward H. Tarr and Bruce Dickey, professional recorder England from Germany around 1720, Bläserartikulation in der Alten Musik, perhaps served an apprenticeship with eine kommentierte Quellensammlung = players today. the famous Peter Bressan, then set up Articulation in Early Wind Music, a his own workshop until his death Source Book with Commentary, Redak (Hugo Reyne, Pedro Memelsdorff, around 1758. Christian Ahrens has tion = Editorial Coordinator Angelike Dan Laurin), New Impulses from now discovered a document from the Moths, Pratica musicale 8 (Winter- Italy (Giovanni Antonini), and the Court of Gotha in central Germany thur, Switzerland: Amadeus Verlag/ Younger Generation (Maurice Steger, showing that Schuchart visited there Bernhard Päuler, 2007). Dorothee Oberlinger). The influence in 1725 and delivered three oboes. Karsten Erik Ose and Dorothee of the recorder is illustrated with both He is described as “an instrument- Oberlinger look at the development original instruments and copies. maker from London” and signed his of how modern recorder players The authors conclude, surprisingly, name “Johann Just Schuchardt.” (including themselves) performed with a list of careers open to profes- Ahrens speculates that Schuchart late Baroque music over the period sional recorder players today: (1) con- must have been born in that part 1960-2000. They illustrated their cert soloist; (2) recorder teacher at a of Germany. Christian Ahrens, “The original lecture at the Michaelstein conservatory, music school, or private London Woodwind Instrument Maker symposium with recordings, which studio; (1 and 2, adopted by the best- John Just Schuchart (Schuchardt),” are all identified in the article version. known soloists); (3) recorder player Galpin Society Journal 62 (2009): The aspects of performance and musicologist or journalist; 287-88. covered are tempo, ornamentation, (4) recorder player and maker; and Jim Lymhan, a self-professed tone color, vibrato, and original instru- (5) recorder player and conductor “amateur” at recorder-making, offers ments or copies. The authors classify (e.g., Brüggen, Linde, Schneider, advice on making recorder blocks the performers into: German School Reyne). Karsten Erik Ose and “for anyone who has a table-mounted (Ferdinand Conrad, Hans-Martin Dorothee Oberlinger, “Betrachtungen router and doesn’t mind using a two- Linde and Günther Höller), Nether zum stilistischen Wandel der Inter- piece block.” Peter Madge supports the lands School (Frans Brüggen, Walter pretationen hochbarocker Block- method but prefers to use hand tools van Hauwe and Kees Boeke), Nether flötenmusik von 1960 bis 2000,” rather than a router. Jim Lymhan, lands-German Alliance (Michael in Flötenmusik in Geschichte und “Making a Recorder Block,” FoMRHI Schneider), the Next Generation Aufführungspraxis, 287-97. Quarterly, no. 112 (May 2009): 22-23 (Comm. 1867); Peter N. Madge, “More Provincetown Bookshop Editions on Recorder Blocks—Comments on FoMRHI Comm. 1867,” FoMRHI “GO FOR NEO-BAROQUE!” Quarterly, no. 113 (August 2009): 7 Andrew Charlton: Partita Piccola. For 4 Recorders (SATB) (Comm. 1874). [Prelude; Allemande; Courante; Musette— Madge also proposes a new kind a neo-baroque epitome!] (Score & Parts, PBE-25) . . . $7.95 of thumbhole for “all recorders larger Andrew Charlton: Suite Moderne. For 3 Recorders (ATB) than the soprano.” The purpose is to [Baroque shapes but Hindemithian harmony] get around the need for “pinching” the (3 Playing-Scores, PBE-44) ...... $9.95 notes in the second and third octaves, because it’s difficult to be accurate Southwest of Baroque. David Goldstein’s “baroque Suite” on Cowboy Songs. For 2 Recorders (SA) (PBE-2) . . $3.50 about the amount of thumbhole left open, and the thumbnail can easily A good source for Recorder & Viol Music of all publishers. damage the hole. The Provincetown Bookshop, Inc. His solution is to drill out the 246 Commercial Street, Provincetown, MA 02657 Tel. (508)487-0964 thumbhole to about twice its original size (say, 12 mm in diameter), then 22 September 2011 American Recorder insert a plug containing a hole slightly produced in recent times by dedicated a microphone that fits the bill: the new less than the original size (say, 6.8 mm), and skilled woodwind makers?” Jan patented MCE 55 Helix, developed by and on the top right of the rim of the Bouterse, “Recorder Research: Wind Julianne Eckstein of the German com- plug drill a small hole (say, 1.5 mm). way Design,” FoMRHI Quarterly, no. pany beyerdynamic in cooperation with Then the thumb can cover both holes, 113 (August 2009): 26-35 (Comm. Koschitzki’s group Spark. or just expose the smaller hole to create 1880). According to the company’s web the octaving function. The small hole Uta Vollbrink has written a short site, “The MCE 55 Helix has been can even be replaced by a brass tube article about grenadilla, illustrated with designed for unobtrusive miking of around 1.5 mm in diameter. Simple colored and colorful photographs of different instruments. Due to its and ingenious, but perhaps “not for the wood being grown, harvested and extremely versatile holder the faint-hearted to try”.... Peter prepared in Mozambique. She writes it can be mounted Madge, “Pinched Notes,” FoMRHI that grenadilla’s “low porosity and to many instru- Quarterly, no. 114 (November 2009): [high] density and its high resin con- ments 16-18 (Comm. 1887). tent make it ideal for instruments on directly The Dutch recorder maker Jan which high demands are placed. The or held with Bouterse begins his article on windway wood absorbs little water and also a playing hand. design by discussing how hard it is to remains stable under demanding con- The omnidirec- make really good recorders, especially ditions. The smooth surface and the tional polar pattern allows optimum consistently. He also notes some “oddi- hardness of the wood lead to a power- positioning; furthermore, the close ties or irregularities” in the design of ful, elegant tone, which also fills large miking effect known from directional recorders of the past, such as the irregu- spaces. So the wood is ideal for solo microphones—when the distance to lar windways of a Baroque soprano by instruments.” Uta Vollbrink, “Flöten the microphone is very short, the bass Engelbert Terton and Renaissance holz: Grenadill. Impressionen rund response is disproportionally loud— instruments by Rauch von Schratten um einen edlen Rohstoff,” Windkanal is avoided.” bach. Measuring windways is difficult 2009-2, 20-23. The new microphone has been because they “are very three-dimen- The prelude to an article by Daniel taken up enthusiastically by Koschitzki sional; they rarely have the shape of a Koschitzki notes: “In open-air perfor- and his colleagues in Spark, even simple square box,” and they can curve mances or also in the area of electronic through the loudspeaker system lengthwise or sideways. Such a three- music, recorder players are always pre- of a jazz club. Daniel Koschitzki, dimensional quality does not transfer sented with a problem: to be able to “Kleine Halterung für großen Sound: well to the usual two-dimensional move without microphone stands, a Neuartige Mikrofonhalterung für drawing, and most existing drawings way to hold the microphone is required Blockflöten,” Windkanal 2009-4, of windways are therefore problematic. that at the same time enables optimal 16-17; www.beyerdynamic.com. Bouterse looks at some measure- sound.” Koschitzki goes on to describe ments and drawings published in books and catalogs—for example, by Fred Morgan and by Hans Schimmel with Vincent van der Ende—pointing to Join us! their inadequacies in detail. In addition, Membership is a great value: Early Music America is the if you want to make a true copy of a w Online access to Grove Music Online ($295 value) service organization for the w entire field of early music in historical instrument, including a per- Online access to Naxos Music Library ($225 value) North America. w Early Music America magazine (quarterly) haps irregular windway, “it is important www.earlymusic.org w E-notes (monthly) and Bulletin (semi-annual) to forget what is in your head” about enter discount code CY6KS w Membership Directory or mention this ad for a instrument design and “become as 15% discount EMA workshop, Berkeley 2010 receptive as possible” to the instrument. Call us toll free: He concludes: “how can we come 888-722-5288 closer to the instruments, closer to their souls, to their secrets? Is it possible for Early Music America 2366 Eastlake Ave. E. #429 us to make better copies, and/or can we Seattle, WA 98102 improve our hearing? Or must we be [email protected] content with the many fine instruments
www.AmericanRecorder.org September 2011 23 Book Reviews ______Recording on a Budget
Recording on a Budget— A technical book on recording This book does address the issue How to make Great must meet certain basic criteria: it of connecting to the Internet by pro- Recordings without must be current, up-to-date, connected viding online access to sound examples, Breaking the Bank, by to the Internet, and do as well (or bet- and gives you a password to connect Brent Edstrom. Oxford Univer- ter) than the hundreds of online alter- to this material online. However, you sity Press, 2010. 272 pp. Paperback natives. The writer must create a work can’t easily jump from the book to the (hardback also available, price higher). that is either relevant to the many ’net, and the material is not linked, like ISBN-10: 0195390423, ISBN-13: different kinds of music—or say up the pages in a well-constructed web 978-0195390421. $19.95. front, for example, “this is for pop, site are linked. Had a CD or DVD The writer of a book on home not classical.” Ideally, the author will been provided, or a Kindle version, recording faces many daunting tasks. provide gradual levels of difficulty, the book could have made much better The latest and greatest products for so that the reader will not, ultimately, use of computer technology to address recording often come out twice a year, be confused and give up. this very issue. There is now an eBook and there are hundreds to choose from. Sadly, this book does not meet version available (for half the price) The recording process itself is transi- this standard. Space does not permit that improves the format somewhat, tioning from hardware (microphones an exhaustive analysis of every item in but it still falls short. and mixers) into software (virtual the book—this is a review, not a revi- Before recording a new project, microphones and mixers, effects, virtual sion—but in general, there are better, the recording engineer (that’s you!) rooms). Certainly, there is a need for free alternatives for those interested in has to make a number of fundamental guides of various kinds to help us navi- home recording. There are many free decisions that affect the final version. gate through all of these different and online courses in recording that simply Is this music for a CD? Is it for the confusing options, and there is a great explain the material better than this Internet only? Will it be used along- deal to be gained: recording music is book. For example, Danish Pro Audio side a video? And will it work on a web better and cheaper than at any time in (DPA) offers a “Microphone Uni site or YouTube? This book really does history, and all of us can participate. versity” (www.dpamicrophones.com/en/ not lay out these dilemmas and answer Mic-University.aspx) with clear, accu- these questions up front. rate descriptions of microphones and Here’s a fairly basic analogy: when recording techniques. Another must- taking a picture with a camera, you read is the web site of Ethan Winer need to decide fundamental questions (www.ethanwiner.com/acoustics.html), about number of megapixels, shutter a valuable resource for changing a speed, lighting, and so on, or whether Honeysuckle Music room into a recording studio. to simply hit the “point and shoot” In such cases, where there are clear button. In audio, you need to set the sampling rate, judge the volume levels, Recorders & accessories alternatives, the book should simply ... refer the reader to other resources or the bit depth (which is like “megapix- els”), or, in the case of the all-in-one Music for recorders & viols substantially improve upon what is available for free online. This is a book recorder, hit the “point and record” Jean Allison Olson about budget recording, and though button. Without specific, project- 1604 Portland Ave. DPA makes expensive microphones, based guidelines, the end user will not St. Paul, MN 55104 the information provided by DPA and know how to proceed, nor be able to 651.644.8545 many others online is free and univer- find the right button in an emergency. [email protected] sally applicable—you can’t get more While reading Recording on a “budget” than free. Budget, I was struck by the lack of
24 September 2011 American Recorder organization in the way the material is ARS Membership Enrollment and Renewal presented. The book is really a set of I am a new member I am or have been a member loosely connected articles, and topics SILVER Membership such as compression and equalization US/Canadian - $45 one year/$80 two years PLATINUM Lifetime Membership are brought up in multiple chapters; Foreign - $55 one year/$100 two years U.S./Canadian - $800 Loyalty* rate ($600 is tax this can only confuse the reader. It Additional Benefits deductible) x Education Level Discounts on Sibelius & Additional Benefits would be better to have guideposts Finale Music Notation Software x Free ARS T-Shirt stating, “This topic is covered three x 10% ARS Store Discount x Free 2GB ARS Thumb Drive times, on these pages.” With hypertext x Free Hotteterre Pin Dual $5 - Dual Other Name or Other Address: x Education Level Discounts on Sibelius & links to similar or related places in an 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 online book, much of this loosely- listing under different surnames at the same address, *For members who have maintained membership for 5 or dual addresses (summer/winter, home/school, etc.) organized material could be tied consecutive years. add $5 to your membership amount. together. No matter the method, the STUDENT Membership (attach proof) GOLD Membership essential problem is a lack of cohesion U.S./Canadian student - $25 US/Canadian - $150 ($91 is tax deductible) Foreign student - $30 and cross-references, and this speaks x Free 2GB ARS Thumb Drive BUSINESS Membership - $125 x volumes about the technical problems Free Hotteterre Pin WORKSHOP Membership - $65 involved in reading and understanding x Education Level Discounts on Sibelius & Finale Music Notation Software the narrative. x 15% ARS Store Discount Do not list my name on the ARS Online Directory It is clear that this book is Do not release my name for recorder related mailings Do not release my email address for any purpose not designed for classical Do not contact me via email. music. Fortunately, My address, telephone and email address have not changed. ______... there are many free Name Phone Number ______resources available online. Address/City/State/Postal Code Email Address
The summaries at the ends of Please charge to: (Circle one) VISA/MasterCard/AMEX/Discover chapters are not summaries, but after- CC#:______Expiration Date: ______thoughts devoid of detail; the bibliog- raphy at the end is incomplete and out- Signature of cardholder:______of-date. A carefully compiled list of all Clearly Print Name as it appears on Card:______the available online resources for home Renew by Mail, Online, By Phone or by Fax recording, with a description of what is I am a member of ARS Chapter or Consort______ I am the Chapter Contact good and why, by itself would have jus- Demographic Information tified the purchase, but it is lacking. (optional information collected only to enhance ARS services and provide statistics to grant makers): Some of the material presented ______is now obsolete. For example, there is My age: Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) a chapter on building a computer: 10 ______years ago, this would have been a rea- I am a Professional Recorder Performer. sonable alternative for someone to save ______ $500 on the purchase of a $1000 com- I wish to be included in the list of Recorder Teachers in the ARS Directory and website. puter, but now margins on computers I Teach: (circle your choices) are small. Even worse, the recent avail- Student Level: Children High School Youth College Students Adults Playing Levels: Beginner Intermediate Advanced Pre-Professional ability of special hard drives designed Types of Classes: Individuals Children’s Classes Adult Classes Ensembles for audio and video—the one area in Certifications: Suzuki Orff JRS Leader Kodaly which the do-it-yourselfer has an Where I Teach: : (circle your choices) advantage—is not mentioned; instead, Music Studio Public or private school Community Music School College Other : ______the book refers to the older style, obsolete hard drives (“IDE” drives). Phone: 314-966-4082 American Recorder Society Fax: 314-966-4649 There are a number of minor inac- 1129 Ruth Dr. TollFree: 800-491-9588 curacies, one that is particularly egre- St. Louis MO 63122-1019 [email protected] www.AmericanRecorder.org www.AmericanRecorder.org September 2011 25 American Recorder Society Publications gious. On page 229, there is an entire page that is a template for adjusting Musical Editions from the Members’ Library: the angle of two microphones, labeled ARS members: 1 copy-$3, 2 copies-$4.50, 3-$6, 4-$7.50, 5-$10, 6-$11.50 “ORTF Template.” ORTF is an excel- Non-members (editions over 2 years old): 1 copy-$5, 2 copies-$8.50, 3-$12, 4-$15, 5-$19.50, 6-$23 Arioso and Jazzy Rondo (AB) Carolyn Peskin Little Girl Skipping and Alouette et al lent system for recording, developed in Belmont Street Bergamasca (ATB) Sean Nolan (SATBcB) Timothy R. Walsh the 1960s by Radio France. Had this Berceuse–Fantaisie (SATB) Jean Boivert Los Pastores (S/AAA/T + perc) Bruckner’s Ave Maria (SSATTBB) Virginia N. Ebinger, arr. diagram been drawn to scale, one could Jennifer W. Lehmann, arr. New Rounds on Old Rhymes (4 var.) Canon for 4 Basses (BBBB) David P. Ruhl Erich Katz photocopy it, or cut it out of the book, Dancers (AT) Richard Eastman Other Quips (ATBB) Stephan Chandler tape it to a piece of cardboard and have Danse de Village (SAB) Kevin Holland Poinciana Rag (SATB) Laurie G. Alberts Different Quips (AATB) Stephan Chandler Santa Barbara Suite (SS/AA/T) Erich Katz a very useful template for quickly set- Elegy for Recorder Quartet (SATB) Sentimental Songs (SATB) David Goldstein, arr. ting up a pair of microphones, premea- Carolyn Peskin Serie for Two Alto Recorders (AA) Elizabethan Delights (SAA/TB) Frederic Palmer sured, and ready to go. However, this Jennifer W. Lehmann, arr. Slow Dance with Doubles (2 x SATB) Fallen Leaves Fugal Fantasy (SATB) Colin Sterne diagram is not drawn accurately, or to Dominic Bohbot Sonata da Chiesa (SATB) Ann McKinley scale, and is misleading. A proper dia- Four Airs from “The Beggar’s Opera” (SATB) S-O-S (SATB) Anthony St. Pierre Kearney Smith, arr. Three Bantam Ballads (TB) Ann McKinley gram—free and including a better Gloria in Excelsis (TTTB) Robert Cowper Three Cleveland Scenes (SAT) Carolyn Peskin picture of the microphone capsules— Havana Rhubarb Rhumba (SATB up to Three in Five (AAB) Karl A. Stetson 7 players) Keith Terrett Tracings in the Snow in Central Park (SAT) is available online at http://en.wikipe Idyll (ATB) Stan McDaniel Robert W. Butts dia.org/wiki/ORTF_stereo_technique Imitations (AA) Laurie G. Alberts Trios for Recorders (var.) . In Memory of Andrew (ATB) David Goldstein George T. Bachmann Elsewhere in the book, technical charts, In Memory of David Goldstein (SATB) Triptych (AAT/B) Peter A. Ramsey Will Ayton Two Bach Trios (SAB) William Long, arr. such as those showing the frequency Lay Your Shadow on the Sundials (TBgB) Two Brahms Lieder (SATB) Terry Winter Owens Thomas E. Van Dahm, arr. response of microphones, are truncated Leaves in the River (Autumn) (SATB) Variations on “Drmeš” (SATB) Martha Bishop with no explanation. Erik Pearson Vintage Burgundy (S/AS/ATT) LeClercq’s Air (SATB) Richard E. Wood Jennifer W. Lehmann, arr. Although the book tries to cast a wide net over the various types of ARS Information Booklets: music that can be recorded, it is clear ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 that this book is not designed for clas- Non-members: 1 booklet-$18, 2 booklets-$33, 3-$44, 4,$55, 5-$66, 6-$76, 7-$86 *Free online to ARS members sical music. Fortunately, for whatever Adding Percussion to Medieval and Improve Your Consort Skills Susan Carduelis kind of music you might wish to Renaissance Music Peggy Monroe Music for Mixed Ensembles *American Recorder Music Constance Primus Jennifer W. Lehmann record, there are many free resources Burgundian Court & Its Music *Playing Music for the Dance Louise Austin available online, and anyone can get Judith Whaley, coord. *Recorder Care Scott Paterson started for a few hundred dollars. David Tayler has credentials in Education Publications Available Online for Free to Members The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). both early music and technology. He holds Guidebook to the ARS Personal Study Program (1996). degrees in music from Hunter College and ARS Music Lists. Graded list of solos, ensembles, and method books. the University of California at Berkeley, Videos Available Online to All where he earned his M.A. and Ph.D. in Recorder Power! Educational video from the ARS and recorder virtuoso John Tyson. An exciting musicology—meanwhile studying physics, resource about teaching recorder to young students. Pete Rose Video. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music astronomy and recording technology. He Festival recital. Features Rose performing a variety of music and an interview of him by ARS member professional John Tyson. performs with and leads Bay Area groups including Voices of Music and the Phil Other Publications harmonia Baroque Orchestra, and has Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering forming an ARS chapter. ARS members, $10; non-members, $20. recorded over 60 discs. In 2008, Tayler One free copy sent to each ARS chapter with 10 members or more. developed new ways to present both per- Consort Handbook. Available for Free to Members Online. Resource on consort topics such as group interaction, rehearsing, repertoire, performing. formance and musicological editions on the Internet, complete with both audio 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, pay by credit card and video interactive capabilities. See and actual postage is charged. Please make checks payable to ARS. VISA/MC/AMEX/Disc also accepted. http://davidtayler.com. Tayler also wrote a letter on record- See www.AmericanRecorder.org for complete publication offerings, for sale and free to members. ing early music in the Winter 2010 issue ARS, 1129 Ruth Drive, St. Louis, MO 63122 U.S. of Early Music America, in response to 800-491-9588 articles that appeared in the Fall 2010 [email protected] Early Music America: “Making Your Own CD” and “Gear for Your Gig.” 26 September 2011 American Recorder Education ______Online Recorder Resources, continued: ______Instructional videos on the ARS web site
By Mary Halverson Waldo, ...a fascinating conduit eds., Readings in Music Learning Theory. [email protected] Chicago, IL: G.I.A. Pub., 1989). These for learning from highly respected educators advocate ny good pedagogical system for all angles. teaching ear before eye, with the goal of the recorder should offer a multi- playing with good tone from the start. Afaceted approach to the learning expe- how to sound better. Each video has Although the beginning pieces for rience, and the ARS web site’s new the feel of being in a master class, but these systems are taught by ear, learn- basic series of instructional videos, at with the luxury of having the learning ing to read notation should always be www.americanrecorder.org/learn/ points recorded in the script, verbatim, part of any good pedagogy plan, and instructional_videos.html, is a fascinat- for review at a more leisurely pace. thus the scores are easily accessible. ing conduit for learning from all angles. Tone quality on the recorder is One consideration to keep in Yes, there are already plenty of options influenced by posture and position, mind with the ARS videos is that they out there—some of them, however, are breathing and airstream, embouchure, move along at a lively clip—and I am method books full of boring, rhythmi- articulation, and even finger action. All not just referring to tempos. There is a cally dumbed-down tunes, or are pub- are covered in some way throughout high volume of information and poten- lished on YouTube by teaching “artists” the videos. Starting with useful warm- tial for skill-building presented at a fast with dubious credentials. However, the up exercises, these techniques are also pace. For example, the first short piece new ARS videos join the pantheon of brought into use relating to the learn- teaches five new notes at once. better options featuring quality instruc- ing of five delightful folk tunes, which Most young children who are rank tion by a master teacher. are initially taught by ear. beginners would find this pace to be Whenever I learn a new skill, like As one of the relatively simple challenging, to say the least. It’s not salsa dancing or cooking a roux, I like pieces is played by Boeckman, close- that younger students can’t learn these for someone to show me how it’s done, ups of her fingers and embouchure pieces. In fact, all of the notes taught in to see what it looks like when a pro is (viewed as you hear the example of her the ARS videos, and even more acci- at work. The observation option is just rich and colorful tone) provide an dentals, are found in Volume 1 of the as valuable when I want to review or invaluable role model for students. Suzuki Recorder School. (The ARS vid- refine my skills. True, verbal explana- Teaching the five pieces by ear eos stay in the range of the soprano tions are important, but are vastly more makes it possible to use engaging tunes first octave, plus one note). However, meaningful with a “visual” of the physi- with catchy rhythms, even a few synco- younger players usually benefit by cal action involved. For musical skills, pations—something rarely found in breaking down so many layers of note- this also means I need an aural experi- most basic recorder methods. This is learning and technique-building into ence—I want to hear how it sounds. done not by mere rote learning, but by smaller, more “digestible” bits. Vicki Boeckman, the dynamic ingraining the whole tune in a student’s Older kids, teens and adults can performer/teacher featured in the ARS mind before the student ever plays the negotiate this format by hitting the instructional videos, provides a multi- first note. It is a concept used by other pause and replay buttons at will, in layered learning effect, as she teaches acclaimed pedagogs: Katherine White, order to try out various activities sug- using verbal explanation and demon- who adapted Shinichi Suzuki’s Mother gested, and to study notation provided. stration. In a series of short videos, she Tongue Method (originally for violin) Even so, beginners shouldn’t be offers a fresh way for beginners to learn into The Suzuki Recorder School (eight surprised if it takes longer to learn foundational techniques in recorder volumes each, soprano and alto, Sum these skills, and the five pieces, than playing. The focus on tone production my-Birchard); Nina Stern with two it takes to view the instruction. The also makes the video series, of excellent volumes of Recorders Without Borders recorder, like other art instruments that technical quality, a useful resource— (Sweet Pipes); and Edwin E. Gordon have the potential to play music beauti- even for more experienced players to of Music Learning Theory (Darrel L. fully, simply takes time to learn. pick up or review high-quality tips on Walters and Cynthia Crump Taggert, www.AmericanRecorder.org September 2011 27 Compact Disc Reviews ______All ashore with Farallon Recorder Quartet
Reviewed by Scott Paterson age of the recorder consort from the logically. The juxtaposition of Renais 14th to the 17th century. As Wendy sance and late Medieval styles is espe- From Albion’s Shores: Powers’s notes make clear, England cially effective, as is the use of different Music of England from played an important role in the rise recorder sizes and numbers of parts. the Middle Ages to Pur and perfection of Renaissance poly- Perhaps because of the emphasis on cell. Farallon Recorder phony during this period. The record- polyphonic repertoire, there seems to Quartet. (Annette Bauer, ing provides an attractive overview be a continuity evident in the music, Letitia Berlin, Frances of the island nation’s contributions to which displays a warmth and expres- Blaker, Louise Carslake, the style. siveness along with a contrapuntal flu- recorders). Farallon FAR1001, The varied repertoire presented by ency enlivened here and there by refer- 1 CD, 63:00. $15 for audio CD, the ensemble extends chronologically ences to folk styles, all of which might $9.99 for mp3 download. from the Worcester fragments of be considered typically English. www.farallonrecorderquartet.com c.1225-1330 through the Roberts- The performances are animated The performers who make up the bridge keyboard codex of 1360, sacred by the ensemble’s colorful feeling for Farallon Recorder Quartet—Annette vocal music of the 15th century, the articulation and wonderful sense of Bauer, Letitia Berlin, Frances Blaker, court of Henry VIII in the early 16th forward direction in the line. The and Louise Carslake—are well-known century, masters of the late Renaissance group plays as a unit in the best cham- for their contributions to the success of such as William Byrd and Anthony the ARS, and so it is a special pleasure Holborne, and music of the early 17th to have the opportunity to hear them century by John Dowland and John on disc. This is the ensemble’s second Cooper/Giovanni Coprario, reaching recording, the first being a program of its culmination in the fantasias of the music of Ludwig Senfl released in Henry Purcell. 2005 on the Pandore label. Wisely, the 31 pieces are arranged From Albion’s Shores presents music in an order that produces an engaging from England during the long golden program, rather than simply chrono-
28 September 2011 American Recorder The juxtaposition of Renaissance and late Order your Medieval styles is especially effective. recorder discs ber music tradition and makes the most of the fact that the bulk of the through the repertoire is played on two matched sets of instruments, one by Bob Mar ARS CD Club! vin and one by Adriana Breukink. For The ARS CD Club makes hard-to-find or limited release instance, the precise tuning facilitated CDs by ARS members available to ARS members at by the matched sets is exploited to the special price listed. All CDs are $15 ARS members/ $17 Others unless marked otherwise. Two-CD sets are $24 ARS members/ the full. The church recording is $28 Others. Add Shipping and Handling: $2 for one CD, $1 for each additional CD. clear, present and well-balanced. An updated list of all available CDs may be found at: www.americanrecorder.org. While this disc will be best appreciated by connoisseurs of the New to our library: recorder consort, anyone interested in ____From Albion’s Shores: Music of England from the Middle Ages to the instrumental music of the English Purcell Farallon Recorder Quartet See review on opposite page. Renaissance will find it rewarding. ____Rose of the Compass Nina Stern, recorders & chalumeau; Ara Dinkjian, oud; Shira Kammen, violin & vielles; Glen Velez, percussion. Mesmerizing musical voyage—Medieval Italy to Armenia, the Balkans to the Middle East. Alluring ancient melodies, vibrant 14th-cen. estampies, traditional dances of Bulgaria and Serbia, gems of famed Armenian bard Sayat Nova. Nina Stern Music, 2011.
____Simple Pleasures, Hidden Treasures: Boismortier Trio Sonatas L’Ensemble Portique, Lisette Kielson, recorder. Joseph Bodin de Boismortier (1689-1755) enjoyed fame and fortune, as one of the most popular composers of the 18th century. Little- known trios from his “Paris” years, written in the trendy Italian style. Centaur Records, 2011.
____Kaléidoscope Flûte Alors! Vincent Lauzer, Jean-Michel Leduc, Marie-Laurence Primeau, Alexa Raine- Wright, Caroline Tremblay. Music of Boismortier, David Désilets, J.S. Bach, Matthias Maute. Five new generation recorder players, who have won national and international prizes, present colorful and vibrant music—Medieval, Renaissance, Baroque, contemporary, jazz.
____Waytes: English Music for a Renaissance Band Lost in Time Press Piffaro: Grant Herreid, Greg Ingles, Joan Kimball, Daphna Mor, Christa Patton, Bob Wiemken, Tom Zajac—all playing recorders plus lute, guitar, loud band, bagpipes, pipe & New works and tabor, percussion, harp. Dances, solo masquing tunes, fantasias, madrigals & motets by Weelkes, Byrd, Tallis, lesser-known composers. Late 16th cen. England’s musical riches. arrangements Navona Records, 2009. for recorder ensemble ____Vespers Piffaro, with choir, The Crossing. Spectacular, acclaimed modern work for Renaissance Compositions by band & chorus, composed by Kile Smith. Navona Records, 2008. Frances Blaker Paul Ashford Please indicate above the CDs you wish to order, and print clearly the following: 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 $______Please charge the above amount to my MasterCard, Visa or AmEx: # PMB 309 ______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 September 2011 29 Music Reviews ______Recorder orchestra fare for ______groups of varying sizes and abilities
Renaissance Dance Suite will need to be added, and wrong notes In this arrangement, the walking No. 2, arr. Denis Bloodworth. in the third and fourth movements bass line is allocated almost exclusively Polyphonic Publications 179 (Magna (measures 20 and 7 respectively) will to the contra bass, great bass and bass music), 2007. S’oSSAATTBBgBcB. need to be corrected. recorders, while the main thematic Sc 12 pp, pts 3 pp ea. $20. The greatest challenge this suite material is usually given to the tenors Arranged in the finest tradition presents is finding players and an audi- and altos, and the countermelodies to of the British military band music, ence willing to accept these arrange- the sopranos. Michatz touches on the championed by Gustav Holst and ments as viable settings of the Susato balance problem this orchestration can Ralph Vaughn Williams during the dances. Those inclined towards histori- create; it is best to double the tenors first quarter of the 20th century, these cal performance practice may find such and altos, and restrict the counter- five settings of well-known dances arrangements unnecessary and prefer melodies to one soprano per part. from Susato’s Danserye of 1551 offer a to use Susato’s original as a point of Aside from this, the arrangement novel, if not unconventional, addition departure. Others may find that the works quite well as it stands, and the to the repertoire for recorder orchestra. suite explores new possibilities for the contrast between soli and tutti sections The opening of the suite follows recorder orchestra—which is, after all, called for by Michatz is effective. the same pattern as the beginning of a wind band. Mendelssohn’s dynamic markings, the Vaughn Williams march, Folk which are included in this arrange- Songs from Somerset. Throughout the Andante from Symphony ment, should be used for phrasing and movements, the orchestration makes No. 4 (Italian), by Felix as indications of melodic direction extensive use of the contrast between Mendelssohn Bartholdy, rather than degrees of volume, and the high and low choirs of recorders arr. Hans-Dieter Michatz. articulation marks (staccatos, accents, along with frequent trills, grace notes Moeck 3305 (Magnamusic), 2007. sforzandos and tenutos) should be and countermelodies played by the SSAAATTBgBcB. Sc 11 pp, treated as degrees of length and sopranino. 8 pts 2 pp ea. $39.95. emphasis, with no dynamic implica- Three of the faster movements Mendelssohn’s Fourth Symphony tion. Trills, in keeping with 19th- finish with pronounced rallentandos, was begun in Italy in 1831 and reflects century practice, should begin on and the suite ends with two massive the exuberance the 22-year-old the written note. glissando-like runs. German composer experienced when Mendelssohn’s music requires Parts vary in difficulty, so that he came into direct contact with the delicacy, precision and, at times, the piece is well-suited to an ensem- culture, landscape and lifestyle of that endurance—and, although a majority ble with members at different playing country. It has been suggested that the of recorder players will enjoy this levels. The sopranino part requires a second movement, Andante con moto, arrangement, there may be technical player with advanced technique and portrays the religious processions challenges even for those who are musicianship as well as the confidence Mendelssohn witnessed in Rome advanced on the instrument. More- to effortlessly produce the highest and Naples. In his preface, however, over, just as Mendelssohn allowed the notes on the instrument. Michatz cites the reworking of a mel- audiences of his day to experience the The printed score consists of ody to a Goethe poem by Mendels music of Johann Sebastian Bach using separate single-sided pages, which sohn’s teacher, Carl Friedrich Zelter, the musical instruments and resources may not be to every director’s liking, and suggests that the movement he had at hand, this arrangement gives and the lack of any notes or commen- alludes to the poet’s travels to Italy today’s recorder players the experience tary about the music is unfortunate. which, given Mendelssohn’s personal of playing at least a portion of one of A missing repeat sign at the relationship with Goethe, may have the great orchestral masterpieces of beginning of the second movement spurred the composer’s Italian journey. the 19th century.
30 September 2011 American Recorder Sleigh Ride by Frederick IXI-MIXI-DIXI (1985), by , measure 19, an erroneous Dn occurs Delius, arr. Layton Ring. Haw in the second soprano recorder. Paul Leenhouts. Moeck 3307 thorns Music RO 01 (Magnamusic), The use of a coda mark is awk- (www.magnamusic.com), 2008. SA 2005. S’oSSAAATTTBgBcB + sleigh ward, especially for the director. In the AATTB. Sc 7 pp, pts 2 pp ea. $34.95. bells. Sc 22 pp, pts 2 pp ea. $25.50. two measures preceding the D.S al Paul Leenhouts is well-known as Sleigh Ride is one of Delius’s Coda, staccato articulations for the ten- a performer (an Amsterdam Loeki most delightful and accessible com- ors are missing. Finally, the three-note Stardust Quartet founding member), positions. Originally written as a pickup intended for the first sopranos pedagog and composer. Ixi-Mixi-Dixi, piano piece, it was later orchestrated is mistakenly given to the sopranino. according to in introductory note from (complete with sleigh bells) by the Nevertheless, this arrangement Leenhouts, was written for a student composer and became one of a set comes off well, and the slower pas- ensemble when the composer first of three tone poems. Although falling sages are particularly effective. It is started teaching, and was inspired by into the category of a “light classical,” also amenable to recreational reading a typical Dixieland chord progression. the music contains strong elements as well as performance, but requires While not adopting the highly of Impressionism, particularly fre- players who are above an intermediate contrapuntal style of Dixieland jazz, quent changes of tempo (including playing level and who can manage the piece does have a lot of the infec- rallentandos, ritardandos and accele- tempo changes. Even advanced players tious energy typical of the genre. randos), and the use of pauses to set may find some of the parts difficult, Rhythms are swung, syncopations off various sections and passages that and considerable work and polishing abound, and the melodies have a chro- can best be described as “atmospheric.” will be needed before this arrangement matic zest. can be successfully presented in public. First the soprano line takes the Ring’s arrangement for Special care needs to be taken lead (assisted by the altos), then the recorders includes a part with the sleigh bell part, which requires tenors, and finally the bass. All have a player who is well-versed in percus- their turn before the music rounds for sleigh bells that is not sion technique, and with the sopranino, off, hearkening back to the opening. only faithful to Delius’s which calls for a player who can com- The piece is quite approachable orchestration but gives the fortably negotiate the full range of the for advanced players, but upper inter- instrument. mediate groups should also find it setting a distinctive charm. This is a welcome addition to the within their grasp. As well as the chro- repertoire for recorder orchestra, espe- matics and syncopations, there are Ring’s arrangement for recorders cially for winter and holiday season jazzy extended techniques such as glis- includes a part for sleigh bells that is concerts. sandi, fall-offs and finger snaps. The not only faithful to Delius’s orchestra- Frederic Palmer has served as music greatest challenge is for the ensemble tion but gives the setting a distinctive director of California’s Mid-Peninsula as a whole to allow the tenors, and charm. Ring also calls for a wide variety Recorder Orchestra since 1988 and has especially the bass, to sound through of articulations, including staccatos, an M.A. in Early Music Performance clearly during their solos, given the tenutos, tenuto-staccatos, portandos, Practice from Stanford University. In thickly scored accompaniment. tenuto-portandos, accents and sforzan- addition to performing, directing and This is a fun piece for performers dos. Dynamic markings range from teaching, he is a published author, editor, and audience alike. It will more than forte to pianississimo, and there are arranger and composer. repay the effort put into its preparation. several short crescendo and decre- KEY: rec=recorder; S’o=sopranino; scendo marks. These dynamics as S=soprano; A=alto; T=tenor; B=bass; well as the articulation markings gB=great bass; cB= contra bass; Tr= treble; Recorder should be treated as indications of qrt=quartet; pf=piano; fwd= foreword; opt=optional; perc=percussion; pp=pages; phrasing, length, emphasis and sc=score; pt(s)=part(s); kbd=keyboard; Lessons timbre rather than volume. bc=basso continuo; hc=harpsichord; P&H=postage/handling. Multiple reviews in your Unfortunately, there are several by one reviewer are followed by that own editorial problems with the publication. reviewer’s name. Publications can be pur- Solo and tutti sections are not clearly chased from ARS Business Members, home your local music store, or directly from indicated. The use of the word “simile,” some distributors. Please submit music instead of indicating an articulation for and books for review to: Sue Groskreutz, 1949 West Court St., Kankakee, IL 60901 U.S., www.PatrickRecorder.com every note intended, creates at least one [email protected]. ambiguous situation in measure 23. In www.AmericanRecorder.org September 2011 31 CONCERTINO FOR SOPRANINO 7x7: SEVEN TIMES SEVEN occasionally features sudden shifts that RECORDER AND RECORDER TIMES IN SEVEN PARTS, by have an awkwardness uncharacteristic ENSEMBLE, by William Dietrich Schnabel. Peacock of an otherwise well-integrated effect. Green. Orpheus Music OMP165 Press P285, (Magnamusic), 2008. Although there are no explanatory (www.orpheusmusic.com.au), 2006. SSAATTB(gB cB ad lib.). Sc 28 pp, notes, it seems reasonable to play the S’oSSAATTB. Sc 13 pp, pts 3 pp. pts 6 pp ea. $25. music either with seven soloists or with Abt. $22.70 pub, $18.19 as .pdf. Dietrich Schnabel is the conductor several players to a part, especially since This is a very entertaining piece of four different recorder orchestras, so the bottom line is marked “bass + con- that will make a striking effect in per- he knows the territory well. His 7x7 is trabass/subbass colla parte (ad lib.).” It formance. The edition’s brief end note somewhat reduced in scope from the would certainly be easier to bring out describes Green as a New Zealander typical recorder orchestra score, but its interior melodies and specific dynamic who has written music for piano, for strong, clear textures are well-adapted effects by adding or subtracting players. orchestra, and for the theater. The to the option of many players to a part. The music is generally printed Concertino certainly shows a great The seven little pieces in the col- clearly and accurately. These enjoyable deal of dramatic flair. lection are written so that the second is pieces will work quite well in concert. The work is in three movements: in 2/4 time, the third in 3/4, the fourth It is especially valuable to have material fast, slow, fast. The outer movements in C time, the fifth in 5/4, and the sixth of this quality available for a larger have a jazzy, syncopated feel in the in 6/8; the seventh changes meter but group at an accessible technical level. Scott Paterson, a former ARS Board accompanying group while the solo includes 7/8 bars (for the record, the member, teaches recorder and Baroque flute in sopranino plays an even more active first is in 3/4—perhaps one to a bar?). the Toronto area, where he is a freelance per- rhythmic role. The pieces will be immediately former. He has written on music for various The slow movement, which Green accessible to performers and listeners publications for over 25 years, and has just has also arranged for sopranino and alike. In each the character is strongly opened his own studio after over 30 years at strings, gives the soloist a freely moving drawn and evident from the very open- the Royal Conservatory of Music of Toronto. line over shifting chords. There are ing. The playing level is generally many detailed dynamics marked, but quite approachable, frequently even an experienced ensemble will be able to lower intermediate. The writing is con- La Gondoletta, by Irmhild successfully render the required effects. sistently idiomatic, even as the soprano Beutler. Edition Moeck 3312 There are a couple of extended lines rise up to high C. Each part is of (Magnamusic), 2009. S’oSAATBcB. techniques required, glissandi and equal interest, and every piece has a Sc 8 pp, pts 1-2 pp ea. $34.95. tremoli, but the piece should be well melodic thread that travels from part to Sarabande, by Georg Fried within the abilities of an upper inter- part. The textures are especially inven- rich Handel, arr. Sylvia mediate ensemble willing to put in suf- tive, though it is sometimes a challenge Rosin. Moeck 3313 (Magnamusic), ficient practice time. Even the solo part to bring out a leading melodic strand 2009. S’oSATBgBcB. Sc 4 pp, pts should be relatively manageable, since when it is found in a lower part. 1 pp ea. $27.95. much of the focus is on the long, free Articulations are sparingly, but Recorder orchestras (and larger solo cadenzas in each movement. The carefully, marked and add greatly to consorts) will welcome the publication writing is idiomatic throughout, and the overall effect. Perhaps the weakest of two new editions in Moeck’s series the music will have quite a profes- aspect of the writing is the harmony, specifically designed for larger ensem- sional-sounding effect. which is attractively tonal but which bles. As part of this design, all editions The edition is generally accurate in this series specifically state that the and easy to read, although there are owners may make photocopies for use misplaced expression markings in some in rehearsal and performance. “These of the parts, and the notation of some legally purchased parts may be copied of the more chromatic passages seems a by the ensemble to meet their individ- little more complex than necessary. ual requirements.” Thus, what looks at Even though the entire piece only first like high pricing really makes lasts about six or seven minutes, it will sense when you consider that only one bring great pleasure to performers and copy needs to be purchased, even if listeners alike. Green writes well for the your group has 20 or 30 members! recorder, and perhaps he will consider La Gondoletta is a Venetian folk composing a more extended large song set for recorders by German ensemble work. 32 September 2011 American Recorder player-composer Irmhild Beutler, who for recorder orchestra (originally a to add to their repertoire. For those is perhaps better known as a founder of famous barrel organ piece for recorder who are not currently a member of a Ensemble Dreiklang Berlin. The origi- quartet by Peter Schott). recorder orchestra, these pieces can be nal title of the folk song is La Biondina Sarabande is a seven-part arrange- fun to play at workshops, where the in Gondoletta and concerns a blonde ment of a section of the Suite No. 4 in requisite number of players is easily woman who “becomes drowsy from the D minor by Handel—in this piece, the found. These pieces both sound quite soft swaying of the Venetian canals.” contra is required rather than optional. lovely with only one-to-a part, so if you The instrumentation is actually The arranger, Sylvia Rosin, is also a can find five or six additional players, for sextet (S’oSAATB) with the bass founding member of Ensemble Drei you can enjoy them along with other line optionally doubled by the contra klang Berlin. The arranger suggests six- or seven-part pieces you may own. bass, an octave below the bass recorder. playing the sopranino part only on the Charles Fischer is a recorder player In German and Dutch terminology, repeats, to add variety to the texture. and teacher living in Bloomington, IN. this instrument is known as the “sub- The sarabande melody and varia- He studied recorder with Marleen Mont bass”—thus the reference to (Sb) in tions are played in a slow 3/2 tempo, gomery and Walter van Hauwe and is the the music. The piece is in 3/4 time, with the variations moving in quarter author of The Recorder from Zero and with a lovely melody and accompany- notes, so the level of technical difficulty Alto Recorder From Zero. He also sells ing texture reminiscent of barrel organ is quite approachable here, even for new and used recorders on his web site for music. The technical demands of the intermediate players. The piece sounds Unicorn Music, www.buyrecorders.com, piece are not excessive, but the solo quite majestic, fully taking advantage of and is a member of the Recorder Orchestra sopranino does have some tricky triplet the 8-foot contra bass line, which dou- of the Midwest. passagework near the end of the piece. bles the bass line, but not the great bass The work is very approachable by line in between. Unlike La Gondoletta, The amateur groups, and nowhere near the there would be problems with chord Recorder Magazine technical level required for all the parts inversions if the contra were not used. we invite you to visit the site on a similar piece—Aan de Amsterdamse Both pieces represent excellent www.recordermail.demon.co.uk grachten, arranged by Paul Leenhouts value, especially for recorder orchestras
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www.AmericanRecorder.org September 2011 33 Chapters & Consorts ______Play-the-Recorder ______Month 2011
March was Play-the-Recorder Month program of the Tucson Unified School subway concourses, receiving $57 in (PtRM) and March 19 was designated District. The total number of perform- tips for the chapter! Recorder Day! Recorder players and ers was between 15-18 players. They also held their regular ARS chapters have observed PtRM After the school concerts, the monthly meeting, and a five-person since 1993 by finding imaginative and third-grade beginner recorder students consort rehearsed twice for an April innovative ways to raise the profile of played musical selections for them. The recital. They won a gift certificate the recorder in their own communities. chapter stated, “Together we (shame- from Lazar’s Early Music in ARS held its annual PtRM con- lessly) spread our love of music and Sunnyvale, CA. test, which was judged by the Chapters recorder playing to more than 1,000 The Triangle Recorder Society, & Consorts Committee. Gift certifi- children every year. More than half of second runner up, held their annual cates were given to the winning group the active members of the TRS chapter workshop on Recorder Day! at Caro participants; the certificates were gra- are involved in this great project!” lina Friends School in Durham, NC. ciously donated by supportive ARS They were awarded a gift certifi- As well as other instrumentalists, 50 Business Members. cate donated by the Von Huene Work recorder players attended. The after- The most interesting events, shop/Early Music Workshop of New noon ended with Pat Petersen (inset, number of events, and largest number England in Brookline, MA. below) leading the entire workshop in of new members gained in the month Glen Shannon’s The Harmonious Block of March were among the criteria for Additional Awards flute, the special ARS PtRM selection. awarding prizes to the participants. First runner-up Philadelphia (PA) They received a gift certificate from Recorder Society held Honeysuckle Music in St. Paul, MN. Winner: Tucson (AZ) nine events, including 38 The Tucson Recorder Society had performers. A seven-mem 10 events involving two groups: Desert ber consort played at two Winds and Ocotillos. They played for different skilled care nurs- more than 1,000 children as part of the ing homes. One member “Opening Minds Through the Arts” played alone four times in COVER ART CONTEST The ARS held its first Student Cover Art Contest as a part of March’s Play-the-Recorder Month celebration. Creative entries were received from eight different schools in California, Georgia, Indiana, Massachusetts, Missouri, New Jersey, New York … and Japan! From 64 pieces of art work submitted, five finalists were chosen by a panel of judges (see them at www.americanrecorder. org/events/PTRM/11ptrm/Cover-Art.html). Finalists were: Kenar V. (Community Music School of Music and Arts, CA); and Tumelo N., Keith H. and Daniel B. (St. Mary’s Regional School, NJ). The winning piece of the 2011 ARS Student Cover Art Con test was Ricky B. from Callaway Elementary School (GA). It is featured on the front cover of this issue of AR. We were delighted by the participation of so many talented Photos on this page courtesy students and look forward to next year’s contest. of Triangle Recorder Society
34 September 2011 American Recorder concert, attended by an audience of 35. Their music program was designed to introduce unacquainted audiences not only with recorder ensembles, but also with early music. Recorder Orchestra of the Midwest (IN): Under the direction of Cléa Galhano, ROMW held an open dress rehearsal on March 19 in Bloomington, IN, for their April concert. The program was titled “Multicultural Melodies” and consisted of pieces by Byrd, John Ward, Mateo Flecha, Gibbons, J.S. Bach, Handel, Maurice Ravel, Glen Shannon, George Gershwin and Zequinha de Abreu. The 15 members come from Indiana, Illinois, Ohio, Michigan, Kentucky, Trinity Lutheran Church The Director of Music at , Missouri, Wisconsin and Minnesota. Carol Podwils, in Bend, OR, saw PtRM as a way to get Rio Grande (Las Cruces, NM, and El Paso, TX): their recorder fledglings eager to learn about their instru- Members of the Rio Grande chapter played music for a ment. Forty-seven students in the third and fourth grades retirement center physical rehabilitation unit and an Alz rehearsed as a recorder marching band, practicing both inside heimer’s unit. Many pieces they played were familiar to the and outside during the month of March. They made a video- audience from earlier years. They ended with patriotic music tape of their performance and presented it to the school’s as a sing-along, with the singing led by Stan Hawkinson. students and parents at “Celebrate Our School Night.” The Hawaii: The Hawaii chapter and Early Music Hawaii recorder students’ excitement (above) and long hours of prac- joined together for PtRM to bring Annette Bauer to ticing greatly enhanced the school’s celebration. These third runner-up winners were awarded a gift certificate donated by Greater Knoxville plays on Recorder Day! Courtly Music Unlimited in Warrensburgh, NY. The Buffalo (NY) Recorder Society was the chapter with the largest increase in new members. They won a gift certificate from Glen Shannon Music of El Cerrito, CA.
Honorable Mention Other chapters and organizations, which had activities just for the fun of it, received honorable mention for the time and energy that went into these creative events. Victoria (BC): This Canadian group of 10-20 perform- ers put on two events at the Victoria Public Library and James Bay New Horizons Center. Players from Victoria and nearby took part in the festivities. On Recorder Day!, a play- in was held at the library in a covered courtyard. This was the Chicago chapter members first time they had participated in PtRM, and they reported perform at Sulzer Library they had a great time and attracted lots of positive attention. Chicago (IL): Also participating for the first time in PtRM, Chicago had two events that involved 17 performers. At their regular monthly meeting, they played only ARS music, including The Harmonious Blockflute and Tue, Tue. A second event involved five players performing in the auditorium of the Sulzer Regional Public Library. Greater Knoxville (TN): The Greater Knoxville chap- Albuquerque Recorder Orchestra ter spent Recorder Day! in a workshop led by Jody Miller. Fourteen participants worked on achieving pure intonation, phrasing canzonas and performance of intradas. Albuquerque Recorder Orchestra (NM): Six mem- bers performed in the chapel of Manzano del Sol Good Samaritan Village, a retirement facility. They played Shan non’s The Harmonious Blockflute in the last section of their www.AmericanRecorder.org September 2011 35 Hawaii for two weekends of playing introduced to recorders. The trio took Consider advertising in and teaching. On March 4 in Hono 15 recorders ranging from garklein to lulu, Bauer offered a concert at the Skory’s sub-great bass. Skory compared Atherton Performing Arts Studio, the recorder to end-blown instruments delighting the audience with her solo as well as to transverse flute, using her Full page...... $552 recorder as well as ethnic instruments plastic unkeyed flute as an example. 2/3 page...... $439 1/2 page...... $366 like the xun and duduk. Bauer taught After playing a half dozen pieces, the 1/3 page...... $286 1/4 page...... $223 an all-day workshop on March 5 in trio involved the kids by having them 1/6 page...... $175 Honolulu, focusing on Medieval sing the ground for Sumer is Icumen In, 1/8 page...... $127 1/12 page...... $ 95 music, plus introductory percussion. which they had learned in class, and let 1 column inch ...... $ 58 In Kona, on the Big Island, West them blow on big recorders to see how Prices include web site/e-mail link directly Hawaii Recorders busied Bauer with a big instruments differ from sopranos. from your ad in the online AR at day of lessons and ensemble coaching, As is clear from the activities of www.americanrecorder.org. Circulation: Includes the membership of the then an all-day workshop including a chapters and participating groups, ARS, libraries, and music organizations. brief introduction to playing 15th- recorder players are an involved and Published five times per year: century Franco-Flemish notation. The active bunch of talented musicians. January, March, May, September, November. highlight of her Kona visit was a Medi Put on your thinking caps and come Reservation Deadlines: eval feast and concert at Queen Emma up with ideas for the 20th celebration December 1 (January), February 1 (March) , April 1 (May), August 1 (September), Community Center in Kealakekua. in 2012 of Play-the-Recorder Month October 1 (November). Recorder Day! Bauer was accompanied by local musi- and for Thanks to all Rates good through November 2011 . Please cians Meg Sibley, soprano voice; Mot who participated and donated prizes! inquire about discounts on multiple-issue contracts, inserts, or other special requests. ter Snell, harp; and Garrett Webb, Marilyn Perlmutter Extra charges for typesetting, layout, half- tones, and size alterations. 133-line screen recorder. As far anyone knows, March recommended. Advertising subject to 11 marked the first-ever performance CHAPTER NEWS acceptance by magazine. First-time adver- of Medieval music in West Hawaii. Chapter newsletter editors and publicity offi- tisers must include payment with order. cers should send materials for publication to: For more information, contact the Recorder students and audience mem- AR, [email protected], ARS office, 1129 Ruth Drive, St. Louis, bers alike across the state are saying, 7770 South High St., Centennial, CO MO 63122-1019; 800-491-9588 toll free; 80122-3122. Also send short articles about 314-966-4082 phone; 314-966-4649 fax “Hana Hou!” (encore)! [email protected] East Bay (CA) specific activities that have increased chapter : The annual East membership or recognition, or just the Bay Recorder Society members’ recital enjoyment your members get out of being part Classified rate for American Recorder: 60¢ per word, 10-word minimum. “FOR SALE” and on March 6 included a potluck, where of your chapter. Digital photos should be at “WANTED” may be included in the copy least 3”x4”x300dpi TIF or unedited JPG hungry participants and a supportive without counting. Zip code is one word; files. Please send news to the AR address phone, e-mail or web page is two. Payment audience all wolfed down delicious fare. above, and to the following: ARS Office, must accompany copy. Deadlines are one , Three members of the ELMS [email protected] month before issue date. Send copy with Elizabeth Canfield, Linda 1129 Ruth Drive, St. Louis, MO payment to: ARS, 1129 Ruth Drive, St. Louis, Quartet— 63122-1019; and to Bonnie Kelly, Chair, MO 63122-1019. Skory Susan Jaffe— and visited Otis Chapters & Consorts Committee, Advertiser Index [email protected] Elementary School in Alameda, CA, , 45 Shawsheen Rd. #16, Bedford, MA 01730. AMERICAN ORFF-SCHULWERK ASSN...... 24 to play for the fourth graders, who are AMERICAN RECORDER SOCIETY. . . . . IBC, 1, 21, 22, 25 STEPHAN BLEZINGER...... 24 American Recorder (ISSN: 0003-0724), 1129 Ruth Dr., St. Louis, MO 63122-1019, is published JEAN-LUC BOUDREAU...... IBC, 7 bimonthly (January, March, May, September and November) for its members by the American COURTLY MUSIC UNLIMITED...... 3 Recorder Society, Inc. $20 of the annual $45 U.S. membership dues in the ARS is for a subscription EARLY MUSIC AMERICA...... 19 to American Recorder. Articles, reviews and letters to the editor reflect the viewpoint of their indi- HONEYSUCKLE MUSIC ...... 20 vidual authors. Their appearance in this magazine does not imply official endorsement by the ARS. BILL LAZAR’S EARLY MUSIC...... IBC KEITH E. LORAINE EARLY DOUBLE REED SERVICE. . . . 28 editorial DeadlineS: November 15 (January), January 15 (March), March 15 (May), July 15 LOST IN TIME PRESS...... 25 (September), and September 15 (November) . Submission of articles and photographs is welcomed. MAGNAMUSIC DISTRIBUTORS ...... 29 Articles may be typed, or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes- MOECK VERLAG...... IFC sage. They should be for the exclusive consideration of AR, unless otherwise noted. Photos may be MOLLENHAUER RECORDERS...... OBC sent as prints, or unedited JPG or 300dpi TIF files (minimum 3”x4”). Advertisements may be sent in PATRICK O’MALLEY, RECORDER TEACHER...... 27 PDF or TIF format, with fonts embedded. PRESCOTT WORKSHOP...... IBC Editorial office: Gail Nickless, Editor, 7770 S. High St., Centennial, CO 80122; 303-794-0114; PROVINCETOWN BOOKSHOP...... 18 THE RECORDER MAGAZINE...... 29 [email protected]. Books and Music for review: Sue Groskreutz, 1949 West Court St., THE RECORDER SHOP...... 25 Kankakee, IL 60901. Recordings for review: Tom Bickley, 1811 Stuart St., Berkeley, CA 94703. GLEN SHANNON MUSIC ...... 11 Cutting Edge: Tim Broege, 212 Second Ave., Bradley Beach, NJ 07720-1159. Chapter newsletters, SWEETHEART FLUTE CO...... 4 other reports: Editorial office. Postmaster: Send address changes to ARS, 1129 Ruth Dr., St. Louis, TEXAS TOOT...... 3 MO 63122. Periodicals postage paid at St. Louis, MO, and at an additional mailing office. VON HUENE WORKSHOP, INC...... 5
36 September 2011 American Recorder