S U M M E R 2 0

Published by the American Recorder Society, Vol. LIV, No. 2 • www.americanrecorder.org 3 1 0 2 r e m m u s Sopranino to Subba SS a well-tuned Con S o r t

www.moeck.com

Anzeige_Orgel_A4.indd 1 11.11.2008 19:21:44 Uhr Please support our loyal advertisers! www.youtube.com/user/americanrecordermag www.facebook.com/americanrecordermag www.facebook.com/AmerRec Dream-Edition – for the demands of a soloist

Enjoy the recorder Mollenhauer & Adriana Breukink

Enjoy the recorder

Dream Recorders for the demands of a soloist

New: due to their characteristic wide bore and full round sound Dream-Edition recorders are also suitable for demanding solo recorder repertoire.

These hand-finished instruments in European plumwood with maple decorative rings combine a colourful rich sound with a stable tone. Baroque fingering and double holes provide surprising agility.

TE-4118 Tenor recorder with ergonomic- ally designed keys:

• Attractive shell-shaped keys • Robust mechanism • Fingering changes made TE-4318 easy by a roll mechanism fitted to double keys • Well-balanced sound

a1 = 442 Hz Soprano and alto in luxurious

leather bag, tenor in a hard case TE-4428 www.mollenhauer.com

Soprano Alto Tenor (with double key) TE-4118 Plumwood with maple TE-4318 Plumwood with maple TE-4428 Plumwood with maple decorative rings decorative rings decorative rings Editor’s ______Note ______Volume LIV, Number 2 Summer 2013

uiet might not be the title of a book Features you’d seek out to find information on Plays pretty well on the common flute: practicing.Q Even so, nestled in Susan Cain’s The Recorder in Colonial North America exploration of the benefits of being a intro- vert are implications for musicians—for and the Early U.S...... 15 instance, her report on a study of classical By David Lasocki 4 musicians, the most successful of whom rate “practice alone” (or Deliberate Practice— A Brief History of the Recorder Orchestra . . . 22 tackling what most challenges you) higher By Frederic Palmer than group rehearsals, which they termed “leisure.” Other parts apply to performance Departments anxiety, even if not specifically music-related. If you want to practice more efficiently Advertiser Index ...... 40 than you do now, take the advice in Anne Timberlake’s Technique Tip, the second Chapters, Consorts & Recorder Orchestras . 25 8 in an ongoing series (page 13). This issue gives us views of recorder Happy Birthday, Lia Levin orchestras, recently welcomed as ARS affili- ates: from Glen Shannon’s travel tale of Music Reviews ...... 29 recorder orchestra concert in playing on a Recorder orchestra Germany (page 8) to Fred Palmer’s history recorder orchestras have become of how On the Cutting Edge ...... 33 possible and popular (page 22), to a reti- A journey around the world with Ricercata tled Chapters, Consorts & Recorder 22 Orchestras (page 25) plus recorder orches- President’s Message ...... 3 tra pieces in Music Reviews (page 29). The facets of our instrument extend far ARS President Laura Sanborn Kuhlman beyond recorder orchestra: in history, it asks members to share exists in Medieval drama (page 6) and early America (page 15), as well as in Tidings ...... 4 music by living composers (page 4). Other Minds features Michala Petri—and others; Gail Nickless Glen Shannon as an American in Germany; www.youtube.com/user/americanrecordermag 25 www.facebook.com/americanrecordermag The Play of Daniel; Orpheus Music Recorder www.facebook.com/AmerRec Course; Technique Tip from Anne Timberlake

Gail Nickless, Editor ON THE COVER: Contributing Editors Tournieres, Robert Tom Bickley, Compact Disc Reviews • Timothy Broege, 20th/21st-Century Performance Le Vrac (1667-1752). Sue Groskreutz, Book & Music Reviews • Mary Halverson Waldo, Education The Chamber Music Trio. Private Advisory Board Collection. ©2013, Martha Bixler • Valerie Horst • David Lasocki • Bob Marvin DeA Picture Library/ Thomas Prescott • Catherine Turocy• Kenneth Wollitz Art Resource, NY www.AmericanRecorder.org Copyright©2013 American Recorder Society, Inc. ARS Chapters Alabama Idaho North Carolina Alabama Recorder Chapter-Arals: Les Bois (Boise): Kim Wardwell Carolina Mountains: Susan Hartley Jennifer Garthwaite 256-574-5556 360-202-3427 423-612-0421 Birmingham: Illinois Greenville Recorder Society Janice Williams 205-870-7443 John Shaw 252-355-2737 Chicago: Dennis Sherman Triangle: Jan Jenkins 919-870-0759 AMERICAN Arizona 773-764-1920 Desert Pipes Phoenix: Chicago–West Suburban: Ohio RECORDER George Gunnels 480-706-6271 James Heup 630-851-5364 Greater Cleveland: Edith Yerger Arizona Central Highlands—Prescott: Louisiana 440-826-0716 Georgeanne Hanna 928-775-5856 Toledo: Charles Terbille 419-536-3227 SOCIETY Baton Rouge: Cody Sibley inc. Tucson: Scott Mason 520-721-0846 Oregon Arkansas 225-505-0633 New Orleans: Victoria Blanchard Eugene: Lynne Coates Honorary President Aeolus Konsort: 504-861-4289 541-345-5235 Erich Katz (1900-1973) Don Wold 501-666-2787 Maryland Oregon Coast: Corlu Collier Bella Vista: Barbara McCoy Honorary Vice President Northern Maryland: 541-961-1228 Winifred Jaeger 479-855-6477 Portland: Zoë Tokar 971-325-1060 California Richard Spittel 410-242-3395 Massachusetts Pennsylvania Central Coast: Margery Seid Statement of Purpose Boston: Betty Cohen 617-447-5412 Bloomsburg Early Music Ens.: 805-474-8538 Susan Brook 570-784-8363 The mission of the American Recorder Society East Bay: Susan Jaffe 510-482-4993 Recorders/Early Music Erie: Linda McWilliams Inland Riverside: Greg Taber Metro-West Boston: is to promote the recorder and its music by Sheila Beardslee 978-264-0584 814-868-3059 developing resources to help people of all ages 951-683-8744 Monterey Bay: Susan Renison Worcester Hills: Alan Karass Philadelphia: Sarah West and ability levels to play and study the recorder, 831-335-5869 508-847-8559 215-984-8923 presenting the instrument to new constituencies, North Coast: Kathleen Kinkela-Love Michigan Pittsburgh: Helen Thornton 412-486-0482 encouraging increased career opportunities for 707-822-8835 Ann Arbor: Kevin Gilson Orange County: 443-280-1296 Rhode Island professional recorder performers and teachers, Jo Redmon 714-527-5070 Kalamazoo: Annette Brown Rhode Island: David Bojar Redding: Kay Hettich and enabling and supporting recorder playing as 269-762-7503 401-944-3395 a shared social experience. Besides this journal, 530-241-8107 Metropolitan Detroit: Claudia Sacramento: Mark Schiffer Tennessee ARS publishes a newsletter, a personal study Novitzsky 248-548-5668 916-685-7684 Northwinds Recorder Society: Greater Knoxville: Ann Stierli program, a directory, and special musical San Diego County: Janet Smith 231-347-1056 828-877-5675 editions. Society members gather and play Vanessa Evans 619-297-2095 Western Michigan: Jocelyn Shaw Greater Nashville: Carol Vander Wal San Francisco: Greta Hryciw together at chapter meetings, weekend 231-744-8248 615-226-2952 415-377-4444 Minnesota and summer workshops, and many Sonoma County: Dale Celidore Southern Middle Tennessee (Tullahoma): Vicki Collinsworth ARS-sponsored events throughout the year. 707-874-9524 Twin Cities: Anne Mundahl South Bay: Liz Brownell 408-358-0878 651-895-5049 931-607-9072 In 2009, the Society entered its Southern California: Sharon Holmes Nevada Texas eighth decade of service to its constituents. 310-379-2061 Sierra Early Music Society: Austin: Dave Melanson 512-495-4180 Colorado Kathy Bohrer 775-393-9002 Dallas: Alice Derbyshire Board of Directors Boulder: Mike Emptage 970-667-3929 New Hampshire 940-300-5345 Laura Sanborn-Kuhlman, President Denver: Jon Casbon Rio Grande: Sylvia Burke Fort Collins: Cindy Henk Monadnock: 575-522-1742 Cynthia Shelmerdine, Vice-President, Kristine Schramel 413-648-9916 970-988-0160 Utah Scholarships & Grants Chair Early Music Society of Western CO: & Lynn Herzog 802-254-1223 Tony Griffiths, Secretary Bev Jackson 970-257-1692 New Jersey Utah Salt Lake: Mary Johnson 801-272-9015 Jennifer Carpenter, Asst. Secretary, Connecticut Bergen County: Mary Comins 201-489-5695 Vermont Marketing/Public Relations Chair Connecticut: Elise Jaeger 203-792-5606 & Reita Powell 201-944-2027 Monadnock: Highland Park: Donna Messer Ann Stickney, Treasurer, Finance Chair Eastern Connecticut: Betty Monahan Kristine Schramel 413-648-9916 732-828-7421 Greg Higby, Asst. Treasurer, Publications Chair 860-536-7368 & Lynn Herzog 802-254-1223 Montclair Early Music: Valerie Austin, Education Chair District of Columbia Julianne Pape 845-943-0610 Virginia Mark Dawson, Membership Chair Washington: Vicki Walter Navesink: Lori Goldschmidt Northern Virginia: Edward Friedler Bonnie Kelly, Chapters, 301-891-1367 732-922-2750 703-425-1324 Princeton: Skip Kestler Consorts & Recorder Orchestras Chair Delaware Shenandoah (Charlottesville): 609-683-0358 Gary Porter 434-284-2995 Matt Ross, Governance Chair Brandywine: Roger Matsumoto New Mexico 302-731-1430 Tidewater (Williamsburg): Nancy Buss Lisette Kielson Vicki H. Hall 757-784-2698 Florida Albuquerque: Bryan Bingham Jeanne Lynch Mary McCutcheon 505-299-0052 Washington Ft. Myers: Sue Groskreutz Flat & Baroque in Las Vegas: 239-267-1752 Tom Curtis 505-454-4232 Moss Bay: James Verschaeve Staff Largo/St. Petersburg: Rio Grande: Sylvia Burke 253-249-4272 Kathy Sherrick, Administrative Director Elizabeth Snedeker 727-596-7813 575-522-1742 Seattle: Tomo Morita 425-301-5767 10000 Watson Rd., Ste. 1L7 Miami: Ruth Trencher 305-665-3380 Santa Fe: Gus Winter 505-603-8034 Wisconsin Orlando Consort: Sheri Grayson New York Saint Louis, MO 63126 U.S. 407-299-3076 Milwaukee: Carole Goodfellow 800-491-9588 toll free Palm Beach: Gail Hershkowitz Buffalo: Mark Jay 716-649-1127 262-763-8992 Hudson Mohawk: Lee Danielson Southern Wisconsin: Greg Higby 314-966-4082 phone 561-732-5985 Sarasota: Nancy Paxcia-Bibbins 518-785-4065 608-256-0065 866-773-1538 fax 941-536-0621 Long Island: Barbara Zotz Canada [email protected] Georgia 631-421-0039 New York City: Gene Murrow Edmonton: Vivien Bosley www.AmericanRecorder.org Atlanta: Mickey Gillmor 404-872-0166 646-342-8145 780-439-3215 Hawaii Rochester: Jessica Brennan Montréal: Mary McCutcheon In accordance with the Internal Revenue Service 585-683-2802 514-271-6650 Taxpayer Bill of Rights 2, passed by the United States Hawaii: Irene Sakimoto 808-734-5909 Rockland: Jacqueline Mirando Toronto: Sharon Geens 416-699-0517 Congress in 1996, the American Recorder Society makes Big Island: Roger Baldwin 845-624-2150 Vancouver: Tony Griffiths freely available through its office financial and 808-935-2306 Westchester: Erica Babad 604-222-0457 incorporation documents complying with that regulation. West Hawaii Recorders: 914-769-5236 Marilyn Bernhardt 808-882-7251 Please contact the ARS office to update chapter listings. 2 Summer 2013 American Recorder President’s Message ______Greetings from Laura Sanborn Kuhlman, ARS President [email protected]

umer is icumen in, Lhude sing cuccu! Through generous donations recorder programs and enriching Summer has come in, Loudly sing, from members, the ARS awards the lives of young minds. SCuckoo! several scholarships throughout the As the ARS approaches its 75th What a great time of the year year to students, teachers and profes- year, I am continually in awe of the for musicians of all ages and abilities. sionals. Sharing the gift of music is charity our members have shown. Workshops, master classes, concerts in one of the many benefits of being an Financial investment in the future of the park ... a cornucopia of activities to ARS member. Our many programs the ARS will insure our educational be shared with friends and audiences are funded by the thoughtful gifts of programs well beyond our years. alike. The Spring issue of AR was ARS members, and so many have Together we can make an impact chock full of workshop listings all benefited from your generosity. in the lives of those working and study- over the country. Now the time has ARS’s Spring Fund Appeal letter ing to make music on the recorder be come to experience them firsthand. arrived in your mailbox earlier this heard in our schools, churches, concert The Portland Recorder Society month. I would ask that you consider halls ... everywhere and anywhere! recently held a raffle to fund two a gift of any size to help fund pro- Young or old, big or small, music is workshop scholarships. Through grams like workshop scholarships or not something to be played, music their efforts and the generous support for teachers in our schools developing is something to be shared. of many, PRS was able to provide two full-ride scholarships to summer workshops: Port Townsend, and Winds and Waves. What a treat for the winners and donors. What amazing gifts from the PRS. Making the magic of music available to those in need is an important mission not only for PRS, but the ARS as well.

•Workshops •Masterclasses •Ensemble Coaching •Recitals •Recordings

SAVE THE DATE: Lisette’s Annual 1-Day Recorder Workshop Saturday, September 7 Bloomington, IL

www.AmericanRecorder.org Summer 2013 3 Tidings ______Michala Petri on two coasts,The Play of Daniel, ______Recorders Down Under and auf Deutsch

Other Minds Festival Showcases nacular music in the larger set. The writing made wonderful use of Roed’s the Recorder in New Music soprano recorder playing: her ability to blend and to soar. By Tom Bickley, Berkeley, CA Using a bass recorder (or F basset), Roed joined accordion and violin in When the Other Minds (OM) new the world premiere of the aptly-named music festival began in San Francisco, Together or Not (2013), by Pelle Gud CA, in 1993, founder Jim Newman mundsen-Holmgreen. Each instru- suggested the name of the festival to ment determinedly played its own artistic director Charles Amirkhanian musical signature—sometimes alone, based on a line in a New York Times sometimes in duo and trio combina- obituary for composer John Cage: “His tions. The phrases evoked connections epitaph might read that he composed with the traditional repertory while music in other peoples’ minds.” maintaining freshness and indepen- The OM concerts are the public Gáman dence. aspect of the festival, held for its 18th Throughout the trio arrangements time February 28-March 2. The event The first concert on the evening of folk tunes, Roed used various SATB also includes a retreat for the selected of February 28 opened with an engag- recorders, chosen (as she explained) to composers and performers at the ing set by the trio Gáman (above, fit the affect of the music. While the Djerassi Artists Residence in Wood Bolette Roed, recorders; Andreas brightness of the soprano worked its side, CA. A common element in all of Borregaard, accordion; Rune charms easily, the use of the Mollen the festivals has been the interaction Tonsgaard Sørensen, violin) playing hauer Helder tenor as a drone instru- of a variety of different approaches their own arrangements of traditional ment was very effective. to new music, and the inclusion of music from the Faroe Islands and emerging as well as established Greenland. Nestled among the seven A common element in all figures in the field. traditional pieces were two works com- of the festivals has been the posed for Gáman. To many interaction of a variety of American ears, different approaches to the folk music recalls new music, and the that of the British inclusion of emerging as Isles. Sunlief Ras well as established figures mussen’s Accivere in the field. (2008, U.S. premiere) in its multi- The concert concluded with per- ple sections evoked formances of Raga Shyam Kalyan and landscapes of the Raga Bahar on bass bansuri flute by Faroes, via long Master G.S. Sachdev and virtuosic tones and subtle tabla player Swapan Chaudhuri. changes in timbre. The second concert on March 1 Sections of hocket included stunning work by perfor- and dance rhythms Michala Petri (l) and Anna Petrini at the mance artist Dohee Lee with elec- made direct connec- retreat (all photos by Richard Friedman) tronic processing by Adria Otte, and tions with the ver- 4 Summer 2013 American Recorder solo piano by Paula Matthusen’s Sparrows in Supermarkets (2011), Craig Taborn, commissioned by Canadian Teri Hron for her Bird on a Wire opening and project, used a surround-sound electronic environment with closing the live tenor recorder. Matthusen’s piece is quite melodic and evening. accessible, well in the tradition of birdsong for recorders. Anna The playful interaction between Petri and Matthusen Petrini, a (performing live electronics) was a very winning element. Swedish Working with live digital processing of her sound was a new recorder player, venture for Petri. The excellent results hold great promise. captured the All three recorder players performed virtuosically and ears of the with delightfully welcoming stage presence. They used audience with extended performance technique with grace and musicality. her perfor- Most of the audience had not imagined such possibilities mances of three from the recorder, and it was wonderful to witness ears pieces for and minds becoming more open. Paetzold contra While the recorder community was not widely repre- bass recorder sented in the nearly-full audiences, those of us who were and electronics. there were treated to wonderful music. Anna Petrini In Split Rudder Links (in addition to several videos by each of the (2011, U.S. performers that you may find on YouTube): premiere), composer Malin Bång used her fascination with • www.otherminds.org/shtml/OM18announced.shtml sounds of air in the amplified recorder to fill the hall with • Bolette Roed, www.boletteroed.com, and beautiful cascades of white, pink, red and gray noise, impelled Gáman, www.triogaman.com/www.triogaman.com/ by intense attacks and key clacks. Seascape (1994) by Fausto HOVEDSIDE.html Romitelli used a similar palette in a quieter manner and • an excerpt from Rasmussen’s Accivere, included subtle, overblown harmonics. www.triogaman.com/sunleif.m4a Matthias Petersson’s SinewOod (2008, U.S. Premiere) • Anna Petrini, www.annapetrini.com, not only amplifies the sounds inside the Paetzold, but also and an excerpt from Romitelli’s Seascape, www. creates a feedback loop via small speakers that send sound annapetrini.com/files/utdragstartnormmp3.mp3 into the recorder. The composer spoke of his desire to cause • Michala Petri, www.michalapetri.com, the wood fibers to resonate with the sine waves. The noisy, and a full performance of Rasmussen’s yet richly-pitched, sounds changed slowly. The inherently Vogelstimmung, www.dr.dk/P2/P2+Koncerten/ unstable elements of the prepared recorder and response to Vaerker/R/20110525154121.htm the live electronics yielded a beautiful game-like aspect. Petrini’s powerful playing amazed the audience, thanks to her stamina and intense stage presence. Concert three on March 2 placed well- known recorder player Michala Petri in two new works amidst a program of pieces largely for live electronics and voice. Sunlief Rasmussen’s Vogelstimmung (2011, U.S. premiere, transl. “Bird Voice”) drew inspiration from drawings of that title, and used musical material from Rasmussen’s concerto for recorder titled Territorial Songs. Birdsong fragments and rapid scalar passages on soprano, quiet long tones simultaneously from tenor and voice, and active passagework from the Modern alto proved that this piece stands engag- ingly in the lineage of 17th- and 18th-century works for recorder alone. Michala Petri (l) and Bolette Roed

www.AmericanRecorder.org Summer 2013 5 Recorders in New York City The Venice Baroque Orchestra, brought an impressively large and directed from the harpsichord by completely focused sound to every- By Anita Randolfi, New York City, NY Andrea Marcon, brought an all- thing she played. Vivaldi program to Zankel Hall at Her collaborator, the harpsi- Trinity Church (where Broadway Carnegie Hall on February 6. Of the chordist Anthony Newman, matched meets Wall St. in New York City) seven pieces programmed, two had her in every way. As his solo, he gave and its elegant 18th-century subsid- extensive recorder parts: La senna a brilliant reading of the Bach Chro iary, St. Paul’s Chapel, presented a festeggiante, RV693, and the Concerto matic Fantasia and Fugue in D Minor, week-long Twelfth Night Festival in C Major for Flautino and Strings, BWV903. of concerts to celebrate the Christmas RV443. The recorder soloist was However, I do have quibbles. In season. I caught the December 28, Anna Fusek, who besides her facile the continuo sonatas, I missed the 2012, concert at St. Paul’s. recorder playing also played violin presence of a melody bass instrument If the standing-room-only with the orchestra. with a sustained sound to balance the audience was indicative of atten- The Venice Baroque Orchestra sustained treble instrument, and to dance for the rest of the series, then is an ensemble of virtuosos, who, enrich the contrapuntal play between it was a very successful Twelfth Night nonetheless, clearly communicate the the parts. And I wish that Petri had Festival indeed. For this program, joy they take in performing together. selected to play some of the new rep- the Chamber Players of the Trinity They brought wit and expressive ertory that has been composed for Baroque Orchestra (who performed individuality to each Vivaldi work, her—played as only she can play it. without a conductor) assembled a confounding the old canard that recorder-heavy program of three of Vivaldi composed the same piece ... and by Nancy Tooney, Brooklyn, NY the Brandenburg concertos by J. S. over and over again. Bach: Concerto No. 2, BWV1047; Danish virtuoso Michala Petri What makes the Medieval Play of No. 4, BWV1049; No. 6, BWV1051. presented an all-Baroque music pro- Daniel so engaging? Not just the cos- Brisk tempos were employed for gram on February 13 in Kaufmann tumed lions, angels and satraps, but all three works. Concerto No. 2 had a Concert Hall at the 92nd Street Y. also the processionals, fanfares, splen- little trouble getting started, but As always, it is a pleasure to hear did period musicians and lively cast quickly righted itself. In No. 2, the Petri’s playing. Her program included of singer-actors. recorder solo was slightly covered by music by Bach (BWV1030, 1013, Though described as a liturgical the other instruments, but the record- 1034), Corelli (Op. 5, No. 12), Vivaldi drama, originally written and per- ers sounded bright and clear in No. 4. (RV57), Tartini (“Devil’s Trill”) and formed by 12th-century schoolboys, The recorder soloists were Priscilla Telemann (a C major sonata). Sus it comes across as a kind of Medieval Smith and Tricia Van Oers. tained by impeccable technique, Petri opera. Celebrating its 75th anniversary Bits & Pieces The Viola da Gamba Society ence. CRO will also debut a piece of America has moved to: P. O. in the fall, commissioned from Glen Box 582628, Minneapolis, MN Shannon, entitled Mountain Mosaic. 55458-2628; phone numbers are The ARS provides support for profes- 855-VIOL-415 or 858-96-GAMBA. sional recorder players in residence at In November, the American Orff- Sitka (OR) Center for Arts and Schulwerk Association will have its Ecology. Five recorder players—all international conference in Denver, active recorder educators, performers CO. For each of their conferences, and recording artists—were recently groups are chosen to perform for the involved in the Sitka recorder residency musicians attending. The Colorado program: Frances Blaker, Louise Recorder Orchestra (CRO) and Carslake, Frances Feldon, Gayle STEM Singers (from the science and Neuman and Phil Neuman. Visit the technology K-8 magnet school in ARS web site to read the Sitka blog: Adams County, north of Denver) have http://americanrecorder.org/blogs/. been chosen to perform for the confer-

6 Summer 2013 American Recorder YOU ARE BEING DECEIVED ! if you don’t know about the great advantages waiting for recorder players of all levels at verygoodrecorder transcriptions.com ☛ Reward of $25 worth of PDF The Play of Daniel cast and musicians, including Rachel files—your choice—if you can Begley, front row, second from left; and Christa Patton, identify the precedent for this ad. kneeling at right (photo courtesy of Daniel production staff) (Hint: it’s from a composer who’s on this website) year, the Cloisters in New York City clearly and dramatically act out their presented a January revival of the crit- roles. A couple of the singers doubled ically-acclaimed 2008 production. as a frisky pair of lions. The small Fuentidueña Medieval The chapel space at the Cloisters chapel was the perfect setting for the is fairly small, and the production 12 performances. The Gotham Early made full use of the aisles to supple- Music Scene (Gene Murrow, execu- ment the stage, drawing the audience tive director) was the producer, with closely into the performance. When Mary Anne Ballard as music director called upon, the period instrumental- Lost in Time Press and Drew Minter as stage director. ists (including Ballard) also partici- The Play of Daniel closely follows pated in processionals, dancing and New works and the narrative of the story of Daniel at singing, as well as showing emotional arrangements the court of Belshazzar—the familiar responses to the activity on stage. for recorder ensemble tale of mysterious handwriting on the The New York production of wall—as well as the story of Daniel in The Play of Daniel will be presented as Compositions by the lion’s den. part of the Rockport (MA) Chamber Frances Blaker Musicians included two recorder Music Festival on June 21, at 8 p.m. in Rachel Begley Paul Ashford virtuosi— playing the Shalin Liu Performance Center. Hendrik de Regt recorders, and Christa Patton on Visit www.rockportmusic.org for and others shawm and recorders—as well as information. There is also a perfor- costumed performers on other period mance at the Connecticut Early Inquiries: instruments (lute, harp, psaltry, rebec, Music Festival in New London on Corlu Collier vielle and percussion). June 23 at 4 p.m. in the Harkness PMB 309 Wisely recognizing that most of Chapel at Connecticut College. 2226 N Coast Hwy the audience would not understand For more information on that perfor- Newport, Oregon 97365 Latin as pronounced in 12th-century mance, see www.ctearlymusic.org. www.lostintimepress.com France, Minter had his singers very [email protected]

www.AmericanRecorder.org Summer 2013 7 An American in Germany: A Recorder Orchestra Experience arranged nearly all of the rest of the Long story short, the By Glen Shannon, El Cerrito, CA music himself. I was welcomed warmly as the exotic visitor dropping in from recorder orchestra has Springtime in Southern Germany a foreign land, lending my support to evolved in Germany to a came late this year, but was celebrated whichever part Schnabel deemed nec- with a concert by the largest recorder essary. serious art form with a orchestra I have ever experienced. Long story short, the recorder large following. On April 14, in the main concert orchestra has evolved in Germany to a hall of the beautiful Medieval city serious art form with a large following. students who were strong players in of Bietigheim-Bissingen in the south- The sheer size of the group was their own right. In fact, the orchestra western state of Baden-Württemberg, astounding—supported by two sub- itself arose out of the desire of two I had the good fortune to perform contra basses (an octave below the con- teachers—Annette Bachmann of with the 100-member Württemberg tra) and two subgreat basses (an octave the Musikschule Bietigheim-Bissingen Recorder Orchestra (76 in this con- below the great bass), the two dozen (who studied with Marion Verbruggen cert), in the premiere of a piece I had or so each of contra basses and great and hosted me for the weekend), composed for this orchestra and for basses formed a massive foundation for Ulrike Diesse, Günther Mohn and this occasion, Württemberg Overture. the higher voices, and made the regular Schnabel. They put the word out that The invitation came in 2010 from basses look tiny by comparison. a new orchestra was forming, and were their director, Herr Dietrich Schnabel, Several of the players are profes- happily surprised that 80 players who also presented one of his own sional musicians and music teachers, showed up when they had expected major works in the concert and had and we were joined by young music about 40.

8 Summer 2013 American Recorder Shannon took this photo of the city of Bietigheim-Bissingen

It is spectacular, and an inspiration to composers like me. Glen Shannon edits the ARS Members’ Library and is a successful composer of works for recorders. His company, Glen Shannon Music, www.glenshannonmusic.com, was founded in 1998, after his Prelude & Fugue in D Minor (SSATB) won first prize the previous year in the Chicago Chapter biennial composition contest. The difficulty of the music gave a cry together, especially in the hands of By day, he works at a small graphics clear signal that Schnabel puts great fantastic musicians! company in San Francisco, CA. He is trust in his players and holds them in We must seek out Schnabel’s active in the East Bay Recorder Society, high regard. During the long rehearsal music (www.dietrich-schnabel.de), serving as President for three years. the day before the concert, these players and give it an audience in America. tackled the music without hesitation— but I must mention that they were not sight-reading. They had rehearsed at least six times over the past two years, in rehearsals that included the students. It was a joy to hear that all the technical obstacles, like busy key signatures and rampant accidentals, had long ago been overcome; we were making music rather than just playing the notes. Schnabel’s experience as a conductor was reflected in the quality of the playing (“all mistakes ultimately trace back to the conductor”) and the rapport he had with the orchestra. But it was his composition, Symphonic Dances, that was absolutely breathtak- ing and the most unforgettable part of my playing experience there. Schnabel conducts a rehearsal (above), where photographer Schnabel brings a new level of Stefan Hegemann focuses on the low voices in the orchestra large-scale orchestration to the genre, (Shannon plays bass at middle right). Iliades Schnabel made with his pieces having as many as a video of the concert in the Kronenzentrum (below), from 14 parts. The slow movement of which this screen shot is extracted. Symphonic Dances, “Funeral March,” brought tears to my eyes, not only because of the meaty density of the slow chords and the deft use of the high voices against the low; the emotional performance itself was deeply moving. He showed that it is possible to make the sopranino and soprano

www.AmericanRecorder.org Summer 2013 9 Recorders Down Under: Orpheus Music Recorder Course 2013 By Allison Hutton, Overseas Member, orchestra with Maria Martinez recorder maintenance. He also fixed Gladstone, Queensland, AUS Ayerza (Spain). problems I didn’t even know I had! All of the tutors are passionate, Towards the end of the week, we Since I live in a part of Australia where and full of interesting and new infor- got to see some of the up-and-coming recorder players are few and far mation about our instruments. Avery talent in a Blackboard Concert (where between, you can imagine how excited Gosfield (an American living in Italy) people volunteer to perform by listing I was when I arrived in Armidale in demonstrated her skill on the pipe and selections on a blackboard, resulting in New South Wales last January for the tabor. Hans-Dieter Michatz huge variety as well as being unscripted Orpheus Music Recorder Course . (Australia) introduced us to the walk- and unpredictable); an incredible tutors’ We had nine tutors (faculty) from ing stick recorder, or csakan, at the fac- concert; a participants’ concert show- around the world, who among them ulty concert. Aaah, to see the legendary casing what had been achieved during represented The Royal Wind Music, csakan in real life was exciting, to hear the week; and a course dinner in town, Satyr’s Band and Ensemble Lucid it played well was stunning. a fabulous way to end the event. arium, among other groups. Approx Other tutors included Australians For me, it was a fantastic week imately 90 participants spent a joyous Alana Blackburn, Joanne Arnott, in which I played with other recorder six days making recorder music. Barbara Jerjen and Robyn Mellor, as players in ensembles of various sizes, Each day included each person’s well as Amy Power from Switzerland. from quartets during practice time to selected technique class, ensemble, and We also had the opportunity to a 40-piece orchestra, and everything session on a special topic. Every day have a recorder clinic with the tutor in between. I also got to spend a whole except Sunday, the songbirds could of our choice, a 20-minute session in week talking about recorders, browsing start the day by singing with Kamala which the tutor answers a question or with the vendors every day. Thus two Bain (New Zealand). On Sunday and solves a problem. I chose to spend of my recorder dreams came true. Wednesday afternoons, we also had some time with instrument maker Thank you to Zana Clarke for again the opportunity to play in a recorder Peter Biffin, to learn some basics of organizing a truly incredible week.

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

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

10 Summer 2013 American Recorder www.AmericanRecorder.org Summer 2013 11 ______On the Cutting Edge ______Seeking our soul with Daniel Brüggen

By Tim Broege, [email protected] The entire 37-minute film is The discussion is guided by enjoyable. It has been well-photo- n interesting DVD has recently “Uncle Frans” to the idea graphed, and Brüggen is a fine director come my way. Daniel Brüggen, and narrator. Subtitles are provided for Awell-known in the recorder world as that the breath is the very all the languages spoken in the film. a member of the Amsterdam Loeki soul of the recorder. Those interested in the high-quality Stardust Quartet, has made a lovely DVD can obtain a copy by e-mailing short film entitled Ricercata. In the reminds us of the problematic reputa- [email protected]. The Renaissance period, this term denoted tion of the recorder as an instrument price of the DVD is $20 including a composition for solo instrument not only for children. To see the serious shipping. Payment by Paypal is easiest. based on existing tunes or dance forms. faces of the Korean students and hear Speaking of high quality, the won- Some of these pieces have come down the commands of their demanding derful recorder ensemble, The Royal to us specifically designated for the teacher is both touching and troubling. Wind Music, founded and directed by recorder. These pieces often seem to Is the “soul of the recorder” to be found Paul Leenhouts (himself a former be searching for an inner or implied in these children? Amsterdam Loeki Starduster), will theme. The idea of “ricercata” can Brüggen hopes to find it in a perform at the Boston Early Music often seem to imply a musical journey. “sacred object” of the recorder world: Festival on June 16. Leenhouts will This is what Brüggen has depicted the “Dordrecht recorder,” housed in also hold a master class on June 15. in his film. We see him driving and fly- Spain’s National Museum of Art in Perhaps the “soul of the recorder” ing to several locales in a search for Catalonia. Deep in the museum’s vault, can be discovered at these events. what he calls the “soul of the recorder.” the ancient recorder is brought out for To see parts of Ricercata, visit First, he visits the renowned recorder Brüggen’s examination. He is allowed http://bobmarvinrecorders.wordpress. maker Bob Marvin at his home and to blow it, but no sound is possible. As com or search on YouTube or Vimeo. workshop in Canada. We see a recorder Brüggen puts it, “this recorder is dead.” Daniel Brüggen interviews Leenhouts being made, and hear some of Marvin’s Perhaps it represents the historical about The Royal Wind Music at www. unique perspectives on recorder mak- “soul of the recorder,” but not a living youtube.com/watch?v=4J-lLI-Son0. ing. We also see Marvin removing a one. beaver dam from a creek on his prop- Finally Daniel Brüggen visits his erty so that water can flow freely. uncle, Frans Brüggen, recipient of the Next the film takes us around 2001 ARS Distinguished Achieve the world both literally and figuratively ment Award, and also voted at the as Brüggen visits the Yamaha factory end of the 20th century by AR readers in Japan. He is granted access to the as “recorder player of the century.” “inner sanctum” where Yamaha plastic As they sip wine on the patio of recorders are made. The manufactur- Frans Brüggen’s villa in Tuscany, the ing process, with its profusion of discussion is guided by “Uncle Frans” plastic molds, is described. Brüggen to the idea that the breath is the very tries out a soprano, which, not “soul of the recorder.” What drew him surprisingly, sounds quite nice. to the recorder, he says, is breath and To see plastic recorders in action, how it brings the recorder to life. This Brüggen journeys to Korea and visits a interview is fascinating and quite music class during the rehearsal of a touching. It alone would make this large recorder ensemble. Brüggen film important viewing for lovers of the recorder. 12 Summer 2013 American Recorder Technique Tip manent. Wise teachers know this. It’s also good to mix it up Practice Makes Permanent So do motor learning researchers, Have you ever shown up at a lesson, who stress the principle of specificity a playing session, or a performance of learning: in a nutshell, we get better and been unable to play what you’d By Anne Timberlake, Richmond, VA at what we practice—but we do so gotten right in your practice room narrowly. 309,433 times in a row the night You practice regularly now, so you Practicing a note by itself may before? must be approaching perfection, not help you produce that note in the Most of us struggle with gener- right? After all, if you’ve heard it context of a piece. Using an apparatus alization, or the ability to take what once, you’ve heard it a thousand to train yourself to breathe deeply we’ve learned in one context and times: practice makes perfect! may not translate to improved breath apply it in others. Generalization Unfortunately, there is more control while playing. Adding behav- is a particular bugbear for musicians, to successful practicing than show- iors to your motor schema (eye squint- since the contexts of playing and ing up. To understand why, it helps ing, elbow clamping) means you’re performing are so radically different to articulate what it is that we’re more likely to be stuck with them. from the context of the practice room. doing when we practice. Specificity of learning is a simple, Fortunately, motor learning Motor learning researcher yet powerful, concept. Practice, research has some tips for us. Rather Stephen Skelton describes practice explicitly, only the behaviors you than massed practice, which is the this way: When we practice, we learn want. Don’t practice behaviors you kind of practice we do when we play a rule, called a schema, for the relation- don’t want. a particular passage 309,433 times in ship between our actions and their Do practice cuing, tuning, hold- a row, we should try variable practice, outcomes. As part of our schema, we ing the recorder still after a final note, in which we play a passage as many also learn the relationship between bowing, and breathing in time. Don’t different ways, and in as many differ- variations of action and variations practice rolling your eyes, hunching ent contexts, as we can. of outcome, as well as the sensory over, or starting with no cue. Do prac- This is not to say massed practice consequences of our actions. tice playing in a steady tempo. Don’t isn’t valuable: in the beginning stages, Say we’re learning low F on an practice mistakes: if you’re practicing motor learning research suggests, it alto. We’re learning the relationship a piece fast enough that you’re mak- helps us learn. But if our goal is to between our actions (covering all the ing consistent mistakes, slow down generalize what we’ve learned, we’ll holes, blowing into the instrument) before you’ve practiced them into do better if we mix things up—and and the result (F). We’re also learning permanency. in as mixed-up a way as possible. the relationship between variations in Similarly, specificity of learning We can vary a lot, as we practice. action (blowing too hard) and varia- suggests we should be leery of We can vary note order, rhythm, tions in outcome (squawk!!). We’re “breaking it down,” the popular stress, articulation, body position, learning how it feels, in our bodies practice technique whereby you emotional content, even the rooms and mouths and ears, to play low F. chop what you’re learning into its in which we play. We can play a pas- Over time, we get better and bet- component pieces. You’ll get better at sage once, then five times, then three ter at performing the actions we’ve playing the component pieces, but times; standing on one foot, in front practiced, and increasingly likely to that won’t necessarily help you play of our dog, facing north, slurred, be able to demonstrate what we’ve your components in context. learned in group playing and perfor- Instead, use a technique called Motor learning research has mance. We can hit low F! additive segmentation: start with your some tips for us. Rather than But what if we’ve only prac- most difficult three or four notes, massed practice, ... we ticed low F with our eyes shut tight, then gradually add one note at time, should try variable practice, hunched over, and with our elbows stitching what you’re practicing back in which we play our clamped to our sides? If this is true, into the fabric of the piece. Work we’ll be blind hunchbacks onstage. both forwards and backwards, care- passage as many different Practice can make perfect, but it fully and cleanly, until you’ve got the ways, and in as many is infinitely more likely to make per- whole thing down. different contexts, as we can.

www.AmericanRecorder.org Summer 2013 13 double-tongued, with dotted keeps you off-balance, for it’s only as a faculty member for workshops. She rhythms, with the emphasis on when we’re off-balance that we begin is also a speech-language pathologist, beat three, hanging upside down. to acquire the flexible, automatic and freelance writer of classical music The key is to keep varying, responses that will carry us through criticism and music-related feature and it’s even better if that variation is practice into performance. articles for the Richmond (VA) Times- random. Write down rhythmic varia- So add it in forwards and Dispatch. She plays recorder with a tions on index cards and draw them backwards, mix it up randomly— variety of ensembles, and co-directs from a bag. Number your tasks and and enjoy! her own award-winning ensemble, use a site like www.random.org to Anne Timberlake is a freelance Wayward Sisters. This Technique generate random numbers. Have recorder player and teacher, leading Tip is the second such excerpt from your spouse or a friend call out ran- sessions for ARS chapters and serving her session for the 2012 ARS Festival. dom numbers of repetitions from ARS Membership Enrollment and Renewal the dining room. Embrace whatever � I am a new member � I am or have been a member

REGULAR Membership LIFETIME Membership SWEETHEART US/Canadian - $45 one year/$80 two years U.S./Canadian - $800 Loyalty* rate ($600 is Foreign - $55 one year/$100 two years tax deductible) FLUTE CO. Additional Benefits FREE now! - Dual Other Name or Other  Free Scott Reiss Celebration 2 Disk CD Baroque Flutes: our own Address:  Free 2GB ARS Thumb Drive “Sweetheart” model Family members residing at the same address  Free Hotteterre Pin may share a non-student membership. Provide Fifes, Flageolettes info for an additional listing under different last *For members who have maintained “Irish” Flutes & Whistles. names at the same address, or dual addresses membership for 5 consecutive years. (summer/winter, home/school, etc.)

32 South Maple Street STUDENT Membership (attach proof) Enfield, CT 06082 SUSTAINING Membership US/Canadian - $150 ($91 is tax deductible) U.S./Canadian student - $25 (860) 749-4494 Foreign student - $30  Free 2GB ARS Thumb Drive BUSINESS Membership - $125 [email protected]  Free Hotteterre Pin WORKSHOP Membership - $65 www.sweetheartflute.com

� Do not list my name on the ARS Online Directory � Do not release my name for recorder related mailings � Do not release my email address for any purpose � Do not contact me via email.

� My address, telephone and email address have not changed.

______Name Phone Number ______Address/City/State/Postal Code Email Address

Please charge to: (Circle one) VISA/MasterCard/AMEX/Discover

CC#:______Expiration Date: ______

Signature of cardholder:______

Clearly Print Name as it appears on Card:______Renew by Mail, Online, By Phone or by Fax

I am a member of ARS Chapter or Consort______� I am the Chapter Contact

Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers): ______My age: � Under 21 � (21-30) � (31-40) � (41-50) � (51-60) � 61-70) � (71+) ______

Phone: 314-966-4082 American Recorder Society Fax: 866-773-1538 10000 Watson Rd, Ste 1L7 TollFree: 800-491-9588 [email protected] St. Louis MO 63126 www.AmericanRecorder.org

14 Summer 2013 American Recorder Plays pretty well on the common flute: The Recorder in Colonial North America and the Early U.S. By David Lasocki used to dream of the day when I Terminology would have enough time and money Before we can look for the recorder The author writes about woodwind toI visit all the archives and libraries in in historical sources, we need to know instruments, their history, repertory, and which 18th-century newspapers are what the instrument was called at performance practices. The third edition held nowadays, then go through all the the time. The original name for the of his book with Richard Griscom, newspapers looking for references to recorder in English, first documented The Recorder: A Research and the recorder. Recently, my dream came in 1388, was actually “recorder,” clearly Information Guide, was recently true, but not in the way I expected. distinguished from the transverse flute published by Routledge. First, I had access to a database (“flute”). Complications set in when that includes facsimile pages of virtu- the Baroque style of recorder—made in His interest in historical instruments ally all surviving London newspapers, three pieces, with elaborately turned played in America won him the Frances reporting the findings in my article joints—was introduced from France in Densmore Prize from the American “The Recorder in English Newspapers, 1673. The instrument then took on the Musical Instrument Society for the most 1730–1800” (AR, March 2012). Then French name flute douce, soon abbrevi- distinguished article-length work in I worked my way in a matter of weeks ated to flute. References to “flute” English published in 2010 for his two- through three databases that include between the 1670s and at least the part article “New Light on the Early facsimile pages or transcriptions of 1740s, therefore, almost always mean History of the Keyed Bugle.” most newspapers from colonial North the recorder, not the transverse flute. America and the early U.S. The switch in terminology was Since he retired from his position as As we will see, these databases possible only because the Renaissance Head of Reference Services in the Cook yielded some fascinating social material style of transverse flute was almost Music Library at Indiana University in about the history of the recorder in obsolete in England in the 1670s. January 2011, he has been devoting early America—also confirming that When the Baroque style was imported himself to many unfinished writings and the instrument did not die out around from France around 1700, it was given editions, to his own publishing company 1740, as the modern myth has it. a new name, “German flute,” a trans- Instant Harmony, and to the practice lation of the French flûte allemand or of energy medicine. See his web site, flûte d’Allemagne. www.instantharmony.net. In colonial North America, recorders are mentioned under that name, along with shawms, in inventories from plantations in New Hamp shire as early as 1633 and 1635. The two instruments were probably played by the same men, who had some cere- monial function on the plantation. In Beverwijck, a Dutch settlement (later Albany, the state capital of New York), Jan Gerritse van Marcken, a Dutchman who emigrated in 1654, became “farmer of the excise” in 1662. In 1664 he made an inventory of his possessions that included “10 houte fluijten” (10 wooden fluijten, line 4, at Photo by Susan Thompson, courtesy of the Archival Collection left), probably small recorders for his of the Albany County (NY) Hall of Records children. His tale was recounted by

www.AmericanRecorder.org Summer 2013 15 gentlemen between 1736 and 1791. At tinguished student Benjamin Franklin Benjamin Franklin least through the 1750s, these are likely recorded approvingly that Brownell recorded approvingly that to have been recorders, and one refer- “was a skilful master, and succeeded Brownell “was a skilful ence is explicit: Colonel Henry Fitz very well in his profession by employ- master....” hugh, Esquire, plantation owner, Staf ing gentle means only, and such as were ford County, 1743: “a case containing calculated to encourage his scholars.” Susan Thompson in the November a German and an English flute.” In 1713, King’s Chapel in Boston 2004 AR, which also included her “German flute” for the transverse accepted the bequest of an organ and photo of the detail taken from his instrument first appeared in an adver- hired Edward Enstone from London inventory. tisement for a New York concert in to play it, on the understanding that he The colonies did not react 1736, and was used into the early 19th could supplement his income by teach- instantly to a change of terminology century. By the 1740s, as in England, ing. Alas, his petition to teach music in England. The estate inventory references to plain “flute” had become and dancing was disallowed by the city (1679) of Judith Parker, Surry County ambiguous. The double meaning of in February 1715 and again in April (VA) still uses the older terms to distin- recorders/flutes for “flutes” is implied 1716. Only two weeks later, Enstone guish between “1 Recorder [and] 2 by its alternation with “German and placed an advertisement: “there is lately flutes.” The inventory of John Dyer, English flutes” or “common and sent over from London a choice Col an ironmonger and member of the German flutes” in advertisements from lection of Musickal Instruments, con- Artillery Company in Boston (1696), five stores in Boston, Charleston (SC) sisting of Flaguelets, Flutes, Haut- lists “2 flutes 2s.” The instruments and New York over the period 1746– Boys, Bass-Viols, Violins, Bows, were probably fifes that he was 75. The usage of “flutes” for flutes was Strings, Reads for Haut-Boys, Books selling to other militiamen. not firmly established until the 1780s. of Instructions for all these Instru By 1716, when instruments were Finally, in the mid-1790s, “comments,” to be sold at his dancing imported to Boston from England by mon flute” came to mean the one- school. He added: “Any Person ... Edward Enstone, an organist who had keyed transverse flute, as opposed to may be taught to Play on any of these emigrated two years earlier, he used the one of the newer varieties with up Instruments abovemention’d....” term “flutes,” which presumably now to six keys; by the first decade of the Besides Enstone’s “Books of designated the recorder. 19th century, “English flutes” began Instructions,” tutors for the recorder “English flute” for recorder is first to signify flutes sent from England. were advertised for sale in Boston, documented in 1743, two years ahead In American sources of the second Charleston, New York, Philadelphia, of British sources. In 1749, the alterna- half of the 18th century, “voice flute” and Williamsburg between 1759 and tive name “common flute,” first docu- did not mean an alto recorder in D, 1773, all apparently imported from mented in England in 1722, also turns as it had in England around 1700, London. up. Sometimes both terms appear in but some kind of low transverse flute. Another Boston dancing master, advertisements by the same store about Increase Gatchell, also described as the same time, even presented as alter- Teachers, Players, Instruction “schoolmaster,” had “flutes” in his natives (“English, or common Concert Twelve men and one woman in five inventory when he died in 1729, and Flutes,” New York, 1773) or combined cities advertised their ability to teach may have taught them to his students. (“English common Flutes,” Baltimore, the recorder over the period 1713–71. He advertised violin strings for sale in 1785). A “concert” instrument seems to In 1713, at the Boston house of George 1724, so perhaps he also sold recorders. have been one pitched in the customary Brownell, “where scholars may board,” In 1744 in Philadelphia, “Mrs. key: thus F for an alto recorder. “Flute they were taught “Dancing, Treble Dickson, from Scotland” announced doux,” a garbled rendition of flûtes Violin, Flute, Spinnet &c.” in addition her intent “to teach young ladies to douces, occurs in New York in 1794. to two of the 3Rs (“Writing, Cypher draw in every kind, and to paint upon Recorders are mentioned in ing”) and several styles of needlework. silk, and japan upon glass or wood, and the estate inventories of two men in Brownell was actually the first dancing varnishing, or to play on the flute.” Boston: Walter Rosewell, sea captain, master permitted to teach in Boston. By contrast, in New York the fol- 1717 (“1 Flute & book”); and James The reference to needlework suggests lowing September, “a gentleman lately Scolley, shopkeeper, 1721 (“1 fflut”). that girls were being taught as well as arrived here” made his pitch to “young The “flute” is also found in several boys, and that his wife, Pleasant, was gentlemen, or others, inclinable to estate inventories of wealthy Virginia involved in the school. Brownell’s dis- learn,” offering that those “who are 16 Summer 2013 American Recorder “Charles Love, a tall thin man ... plays extremely well on the violin, and all wind instruments; he stole when he went away a very good bassoon, made by Schuchart, ... as also a Dutch or German fiddle, with an old hautboy and German flute, which are his own....” willing to divert or improve a tedious may be carefully taught the violin, hour ... may be taught by a very easy hautboy, German-flute and common method, the violin and flute.” He flute, by book, as formerly.” “By note” offered to wait on gentlemen “at their and “by book” both mean “from written respective lodgings” and undertook “to or printed music,” not just by ear. teach the meanest capacity (on strict Charles Love, “musician from application) two tunes in the first fort- London,” advertised in New York in night, and so on in proportion.” The 1753 that he had set up a school “in reference to practicing is a nice touch. Mr. Rice’s consort room in Broad- In Charleston in 1749, Frederick Street” and was “teaching gentlemen Grunzweig, perhaps a recent immi- musick on the following instruments, grant, gave notice to a broad potential viz. violin, hautboy, German and com- clientele—“all young gentlemen, ladies mon flutes, bassoon, French horn, and others, in town and country”—that tenor, and bass violin, if desired.” “besides the spinnet,” singing to the Evidently, Love did not find enough spinnet, “German flute, &c.,” he taught students to make a living, moving on “the English or common flute and to become a servant of Philip Ludwell violincello ... carefully ... at a very cheap Lee, a plantation owner and a member rate”—both during the day, presum- of one of the richest families in Vir ably at his students’ houses, and at his ginia. When Love ran away in 1757, house every Wednesday and Saturday Lee offered a large reward, describing evening. his servant as: “Charles Love, a tall thin That same year, John Beals of man, about sixty years of age; he pro- Philadelphia, “musick-master, from fesses music, dancing, fencing, and London,” proposed to teach “the violin, plays extremely well on the violin, hautboy, German flute, common flute, and all wind instruments; he stole and dulcimer, by note” at his house or when he went away a very good bas- to “attend young ladies, or others, that soon, made by Schuchart, … as also may desire it, at their houses.” As a a Dutch or German fiddle, with an bonus, “He likewise provides musick old hautboy and German flute, which for balls or other entertainments.” are his own....” Probably the music business was slow; Other musical runaways are men- three years later he advertised himself tioned in advertisements for their cap- primarily as a maker of nets, only add- ture. There is one clear reference to the ing at the end: “Gentlemen and others recorder: William Mangles, an English www.AmericanRecorder.org Summer 2013 17 A man ... left an alehouse He added that students “may depend 1815. The bulk of the advertisements on his assiduity and punctual atten- lie in the period 1752–77, with a peak “befuddled but in a good dance on very reasonable terms, either of 7 sellers per year in 1766–67. humor with a big flute in at their own houses or at his house....” In the 1760s and ’70s, recorders his pocket.” The mixed-language term flauto a bec were imported from London in sizes for the recorder is also documented from “all” to “various” or “different.” servant of John Leathes, aged about 27, in Germany in the late Baroque. Only three times are sizes specified: Philadelphia, 1753: “He plays pretty Besides teachers and students, the 1. “Common Flutes, from a Concert well on the common flute.” references to players of the recorder are to an Octave” (Philadelphia, 1762): In Philadelphia in 1763, a “limner” to amateurs. The earliest is in 1660 in from alto to sopranino (painter) named William Williams Beverwijck, where a man is reported to 2. “English, or common Concert announced that, “being lately returned have left an alehouse “befuddled but in Flutes ... English, second Concert from the West Indies,” he had set up a good humor with a big flute in his Flutes ... English, third Concert business in his former residence, “viz. pocket.” The flute is far more likely Flutes ... English, fourth Concert painting in general. Also, an evening to have been a fluit, or recorder, than Flutes” (New York, 1777): altos, school, for the instruction of polite a large flute, an instrument that was and other recorders pitched a sec- youth, in different branches of draw- scarcely played by amateurs in Europe. ond, a third, and a fourth above ing, and to sound the houtboy, 3. “English or Shepherd Flutes, German and common flutes....” Sellers 2d, 3d, 4th, 6th and 8th” In 1771, Francis Russworm We are fortunate that American stores (Boston, 1815). begged leave “to inform the young gen- often itemized their wares in their Two London dealers—George Astor tlemen in and about Williamsburg, that advertisements. No fewer than 53 sell- and Goulding, Phipps, & D’Almaine— he shall open a school ... to teach the ers in 11 cities—Baltimore, Boston, advertised similar sizes in 1799–1800. violin, German and common flutes”; Charleston, New York, Newburyport Despite the apparent generosity of he also taught dancing to young ladies. (MA), Newport, Norfolk (VA), Phila “all sizes,” these references reflect a fur- Jacob Hood and Philip Hartunoz delphia, Providence (RI), Salem (MA) ther shift in the history of the recorder. informed the public of Charleston in and Williamsburg—advertised record- In the 16th century, a wide range of 1772 “that they teach at home and ers between 1716 and 1815, exactly a recorders had been available, from abroad [away from home], all musical century. Throughout this period, the extended great bass through great bass, instruments of every denomination main sellers were stores for general bass, basset, tenor, discant, soprano and whatsoever, particularly the violin, vio- goods (9), hardware (9), books (6) and sopranino. Over the course of the 17th loncello, harpsichord, hautboy, bassoon, housewares (4). Less than 10 percent of century, especially with the advent of German and English flute, French the sellers were in the music business: the Baroque style of recorder, the low- horn, & etc. Any gentleman, a lover of music stores (5), non-woodwind est sizes dropped out, leaving basset, music, may have his Negroes taught instrument makers (2), music pub- tenor, alto, soprano and sopranino— upon every reasonable terms.... All lisher/store (1) and music teacher (1). along with a new size, the voice flute, musical instruments tuned, repaired, Other sellers included two silversmiths around 1700. During the 18th century, and rectified.” Hood was presumably and one each of bookbinder, clock and as the new evidence shows, even the the man of that name advertising in watch store, cutler, ivory turner, mathe- basset and tenor were gradually dis- Newport, RI (1765), and Charleston matical instrument maker, picture store, carded, as players concentrated on the (1770) as teaching gentlemen the vio- post office, and printer. No makers’ smaller sizes, from alto to sopranino. lin, violoncello and German flute. names are given. The only price we have for record- Hood and Hartunoz soon had The average number of sellers per ers is the “common Flutes of all sizes at competition in Charleston. In 1773, year offering recorders crept up: a Dollar each, and upwards” advertised John William Beck confidently adver- • 0.2 in the 1730s by a “gentleman from London” selling tised “that he teacheth to play on the • 0.3 in the 1740s instruments in New York, Philadelphia, following instruments, viz., clarinet, • 1.4 in the 1750s Newport and Boston in 1762–64. His flauto traverso, flauto a bec, hautbois or • 4.0 in the 1760s, an abrupt rise beginning price for flutes was $3. oboe de Simon [lower oboe?], bassoon, • 2.1 in the 1770s, now falling. A gentleman in New York was also violin, tenor violin, and bass violin as The number stayed steady at around selling flutes at $3 in 1759. perfectly as any master in America.” 0.6 through 1804, ending with 2 in 18 Summer 2013 American Recorder Makers Von Huene voice flute after Bressan At first, recorders were imported from England, as men- Bassoons, Fifes....” Nine years later, a mon Flutes, Hautboys, Clarinets and tioned in the above advertisement by turner named David Wolhaupter—the Soldiers Fifes; he also mends old Ones; Enstone (1716). The primary London same man or a relative—announced and makes all Sorts of other Turner makers in the early 18th century were to “his friends and customers” that he Work.” His German term for recorders Peter Bressan (1663–1731), John Hall had moved his business to Broadway, was gemeinen Floeten, a literal transla- (born c.1655; fl. 1729), and Thomas “where he makes and mends all sorts of tion of “common flutes.” Anthony’s Stanesby Senior (c.1668–1734). musical instruments, such as bassoons, obituary in 1804 stated that he was in Between 1743 and 1795, several German flutes, common d[itt]o. haut- his 68th year, “a German by birth, and stores in Boston, New York, New boys, clarrinets, fifes, bagpipes, &c....” resided in this city for more than 40 buryport, Newport and Philadelphia By 1773, perhaps a sign of the impend- years.” A flute, a walking-stick flute, stated that their recorders had just ing Revolution, he emphasized that he and a clarinet by him have survived, been imported via London or Bristol, made “drums, trumpets, fifes, and all but no recorders. sometimes even citing the importing sorts of musical instruments.” In his Joshua Collins, “musical instru- ship and its captain. final year of advertising, 1775, the ment-maker and turner from Man The instruments must have recorder is mentioned again: “He also chester,” announced in Annapolis stemmed in part from those London makes Clarinets, Hautboys, German (MD) in 1773 that, in his new business woodwind makers mentioned by name and common Flutes....” None of his at Shaw and Chisholm’s cabinet shop, in American advertisements for other instruments have survived. instruments who are known to have In Philadelphia in 1772, Jacob The earliest known made recorders: Thomas Collier Anthony issued two parallel advertise- woodwind maker in (d. 1785), Caleb Gedney (1729–69), ments, in German and English, “to John Mason (fl. 1754–78), Richard acquaint the Public, that he makes and colonial North America Potter (1726–1806), and John Just sells all Sorts of musical Instruments; came from Germany. Schuchart (d. 1759) and his son as German Flutes, of all Sorts, com- Charles (d. 1765). Gedney advertised in 1754 that he made “the nea[t]est and best Travers or German Flutes of all Sizes, English Flutes ditto.... Orders out of the Country shall be punctually obey’d.” Mason advertised in 1765: “He makes the most curious German and Common Flutes, Fifes, Hautboys, Clarinets, Bassoons, Vox Humanes, &c. his Work being well known, and used through all Parts of his Majesty’s Dominions Abroad and at Home.” Recorders by Collier, Schuchart and Thomas Cahusac Senior (1714–98) survive in American collections, although of course they may not be of American provenance. The earliest known woodwind maker in colonial North America came from Germany rather than England. Gottlieb Wolhaupter advertised in New York in 1761 that he “continues to make and mend, all Sorts of Musical Instruments, such as German Flutes, Hautboys, Clareonets, Flageolets,

www.AmericanRecorder.org Summer 2013 19 Instruments in and Around Colo nial Boston,” in Music in Colonial prescott Massachusetts 1630–1820, II: Music in Home and in Churches: A Con Workshop ference Held by the Colonial Society 14 Grant Road of Massachusetts May 17 and 18, Hanover, New Hampshire 1973 (Boston: The Society, 1985). 03755 • USA 603.643.6442 Phone David Lasocki, “Joshua Collins: an email: [email protected] 18th-Century Woodwind Maker www.prescottworkshop.com (perhaps) from Manchester,” Devoted to making recorders of the finest possible quality for nearly 40 years. Manchester Sounds 8 (2009–10): 8–13. Articles by Lasocki listed “all sorts of turner’s work is executed in everything but name, having seven fin- here are available as free down- www.instantharmony. the compleatest manner; also German ger holes and a thumb hole. Through loads from net/Music/articles.php and common flutes, hautboys, fifes, &c. various patents, or otherwise, it under- of all sorts and sizes; all sorts of musical went rapid development over the next Lasocki, “New Light on 18th-Century instruments repaired....” Furthermore, 20 years, largely to reduce the tendency English Woodwind Makers from “He has opened an evening school for for the windway to clog with moisture, Newspaper Advertisements,” musick, at Mr. John Hepburn’s, where to extend the range, and to make pro- Galpin Society Journal 63 (2010): he teaches the most modern and ducing the octave easier for amateurs 73–142. approved methods of playing the by reducing or eliminating the thumb Lasocki, “New Light on the Recorder German flute, hautboy, clarinet, bas- hole. Keywork was also gradually and Flageolet in Colonial North soon, &c. Having been educated in added, as on the flute. America and the United States, that science, under the care of some The flageolet in the 19th century 1700–1840, from Newspaper of the greatest masters in England.” achieved an even greater popularity Advertisements,” Journal of the Perhaps he had picked up such training than the recorder in the 18th, for the American Musical Instrument by stopping off in London on the way same reasons: it was portable and one Society 36 (2010): 5–80. to America. Was the recorder included could easily learn to play a few tunes Lasocki, “The Recorder in English under the “etc.”? An oboe by him has on it, with or without a teacher. This Newspapers, 1730–1800,” AR 53, survived, dated “November 1771” instrument kept the family of duct no. 2 (March 2012): 29–37. (presumably made while he was still in flutes alive and well among American David W. Music, “The Recorder in England), as well as an octave bassoon, amateurs—and later in the 19th cen- Early America,” AR 24, no. 3 but no members of the flute family. tury, developed a significant body of (August 1983): 102–3. touring professionals. The Performing Arts in Colonial Postscript American Newspapers, 1690–1783 The newspaper advertisements that Resources [PACAN], compiled by Mary Jane form the basis of this article furnish a Accessible Archives (available on sub- Corry, Kate Van Winkle Keller, wealth of information about recorder scription at www.accessible.com). and Robert M. Keller (New York: teachers, players, sellers and makers America’s Historical Newspapers includ University Music Editions, 1997). that has been virtually unknown to ing Series 1, 2, 3, 4 and 5; 1690– Louis Pichierri, Music in New Hamp recorder researchers. These advertise- 1922 and Hispanic American shire, 1623–1800 (New York: ments confirm that, as in England, Newspapers, 1808–1980, publ. by Columbia University Press, 1960). the recorder played a role in musical Readex, a division of NewsBank; Susan E. Thompson, “Wooden Fluijten life as an amateur and educational available on subscription from in Beverwijck, a Dutch Colony in instrument throughout the 18th http://infoweb.newsbank.com. the New World,” AR 45, no. 5 century and into the 19th. The Life of Dr. Benjamin Franklin, (November 2004): 16–18. As interest in the recorder waned Written by Himself, 2nd American Phillip T. Young, 4900 Historical toward the end of the 18th century, the ed. (Philadelphia: Benjamin Woodwind Instruments: An flageolet took its place. Ironically, the Johnson, 1794). Inventory of 200 Makers in so-called English flageolet, invented in Barbara Lambert, “Social Music, International Collections England in the 1790s, was a recorder in Musicians, and Their Musical (London: Tony Bingham, 1993). 20 Summer 2013 American Recorder www.AmericanRecorder.org Summer 2013 21 The breakthrough that made the recorder A Brief History of the orchestra possible was Recorder Orchestra the introduction of tuning By hrough the first half of the 17th joints ... allowing several Frederic century, recorders were generally instruments of the same Palmer constructedT in one piece and built in size to play at a single sets, each set with its own particular pitch, since pitch was The pitch. This makes it quite likely that author only one recorder per part was ever now adjustable. has a used up to that point. The break- century. Arnold Dolmetsch (1858- Master of through that made the recorder orches- 1940) began making recorders around Arts in tra possible was the introduction of 1919 and introduced a full consort Early tuning joints around the middle of that at the Haslemere Festival in 1926. Music from Stanford University, and has century, allowing several instruments This laid the groundwork for the studied under Bernard Krainis, George of the same size to play at a single recorder orchestra, since the instru- Houle and Michel Piguet. He has directed pitch, since pitch was now adjustable. ment was now being produced in sizes recorder workshops throughout the The first evidence of multiple from soprano to bass and was on a par U.S., and was on the staff of the recorders per part can be found in the with other instrument families capable Department of Music at California State Concertos, Op. 15, of Joseph Bodin de of forming a complete ensemble. University, East Bay, from 1971 Boismortier (1689–1755), published in After 1926, recorders began to until his retirement in 2008. 1727; and the “Introduzzione” found in be mass-produced to satisfy the Telemann’s Der getreue Music-Meister growing demand for the instrument In addition to performing both early of 1728. Both works have solo (soli) and in music education, and around 1930 and contemporary music, Palmer is a tutti markings in the parts indicating Ferdinand Enke directed perform- published editor, arranger, and composer. that more than one instrument was ances of a recorder choir at the He was awarded first prize in the ARS’s intended. In the “Introduzzione,” Volksmusikschule in Germany. Erich Katz Memorial Fund Composition Telemann specifies alto recorders and In 1937 The Society of Recorder Contest for an original composition for shows how the written flute parts can Players was formed in England, fol- recorder ensemble; Entrevista (SATB) be transposed to fit the recorder’s range. lowed by the American Recorder is published in the ARS Katz Boismortier is not as specific, but the Society in the U.S. in 1939. Because Contemporary Music Series. His Serie for transposition Telemann calls for was of the increasing use of the recorder Two Alto Recorders is available in the by then an established practice, during the 1930s for classroom educa- ARS Members’ Library editions; see making Boismortier’s concertos tion, massed recreational playing and www.americanrecorder.org/order/ playable on recorders as well as flutes. as a “choral” instrument, the practice music.htm. During the 18th century, recorders of employing more than one recorder came in several sizes from soprano to on a single part gained acceptance and The Mid-Peninsula Recorder bass, but there is no information as began to be viewed as a distinctive Orchestra has been under the to whether a full consort of recorders sound in its own right. direction of Palmer since 1988. For (SATB) was ever employed. Given the In 1947, Rudolf Barthel formed more information about the group, existence of these various sizes, particu- the Blockflötenchor Neukölln (now which rehearses in Palo Alto, CA, see larly the bass, it would seem likely that Das Blockflötenorchester Neukölln). www.mpro-online.org. Also on this web they were at times used in full con- This was the first permanent organiza- site, you will find Palmer’s recorder orches sort—perhaps with more than one tion dedicated to performing music tra arrangements; click on the Frederic instrument per part, even though using an ensemble of recorders. It was Palmer Music Collection link at the left. there is no documentation. also after World War II that the first Contact him directly regarding commer After being little used for roughly modern compositions intended for a cial use of his compositions and arrange 150 years, there was a renewed interest relatively large number of recorders ments at [email protected]. in the recorder at the turn of the 20th appear. These include Barthel’s

22 Summer 2013 American Recorder Neuköllner Suite (1947) as well as regarded more and more as a legitimate During the 1980s, at least five new Benjamin Britten’s Scherzo (1955) musical instrument, thus increasing its recorder orchestras were created and and Noye’s Fludde (1957). At the same popularity and the overall level at contra bass recorders became more time, recorders of high quality, notably which it was played. Great bass record- available. During the 1990s, published those produced by Carl Dolmetsch, ers, a staple of the recorder orchestra, compositions and arrangements specif- were becoming readily available, thus became increasingly available during ically for recorder orchestra increased improving the intonation and tone this decade as well. significantly. At least 11 new recorder quality of the instrument, and the The recorder continued to prolif- orchestras were created during that bass recorder was becoming more erate during the 1970s, aided by the period, and it was becoming clear that commonplace. increasing interest in historical musical the number had been growing more or Despite the success of the performance practice, and by 1979 at less geometrically since World War II. Blockflötenchor Neukölln and growing least two new recorder orchestras had This was confirmed between 2000 popularity of the recorder during the been formed. It was also during this and 2009, when no less than 31 new 1950s, playing recorders in large groups decade that a cadre of young profes- recorder orchestras came into existence. was primarily an ad hoc affair. sional musicians who were trained in During this time, more recorder This situation changed during the recorder appeared; they were to orchestras added subgreat bass and the 1960s with the beginning of the become the teachers and directors of subcontra bass recorders to their recorder orchestra movement. In 1962 those playing in recorder orchestras ensembles, and there was greater exper- William Barnhart formed the Mid- for decades to come. imentation with incorporating instru- Peninsula Recorder Orchestra. Per In 1973, Dennis Bamforth (1935 - ments other than recorders. As the forming regularly from its inception, 2005) devised an orchestral grouping decade progressed, the recorder orches- this was the first organization of its of recorders that was to serve as a tra became an ever more important kind to call itself a “recorder orchestra.” model for future recorder orchestras part of the overall recorder environ- This was followed by the formation in England. This eventually led to the ment, as well as an increasingly special- of the Blokfluitensemble Praetorius “English formula” whereby recorders ized branch of recorder playing, per- in 1964. from sopranino to contra bass were formance and repertoire. This was The 1960s also saw the production usually divided into 11 sections with recognized as early as 2002 when a of recorders of exceptional quality, a specified number of instruments panel discussion devoted to the subject notably those of Friedrich von Huene, on each part. The 1970s also saw an of the recorder orchestra was sponsored that matched or surpassed surviving increasing number of modern compo- by the ARS at the Berkeley (CA) historical instruments, as well as the sitions written specifically for recorder Festival & Exhibition. appearance of professional recorder orchestra. By the end of the decade, the soloists. As a result, the recorder was recorder orchestra was viewed by many Mid-Peninsula Recorder Orchestra in one of its workshops as an essential part of the recorder’s (photo by George Greenwood) future and one that could increase its popularity, overall level of playing and artistic possibilities. As of mid-2012, there were at least 55 established recorder orchestras in 11 countries throughout the world. One came into existence in 2011, and another was in formation during 2012. That the recorder orchestra has come to play a significant role in the present and future state of the instrument is reflected by the inclusion of two sessions that explored this subject at the ARS’s 2012 Festival in Portland, OR. Hopefully, these sessions will lead to a better understanding of what a recorder orchestra is, a more complete account

www.AmericanRecorder.org Summer 2013 23 of its history and a conception of how it needs to 1990-1999 develop in the future. 1992: Heart of England RO 1993: Consort Minore A Chronology of Recorder Orchestra (RO) 1994: Das Blockflötenconsort Dortmund, Formation Dates RO of New York 1995: Aoi RO, Hampshire Recorder Sinfonia Compiled by Frederic Palmer 1996: Koidegou RO (formerly Minoru Yoshizawa Recorder Seminar Orchestra), Pre-1960 MRC Minato Mirai RO 1947: Das Blockflötenorchester Neukölln 1998: Wirral RO (formerly Blockflötenchor Neukölln) 1999: Canberra Seniors’ RO, Mino-Yoshizawa RO Tokyo 1960-1969 2000-2009 1962: Mid-Peninsula (CA) RO 2000: American RO of the West (disbanded 2011), 1964: Blokfluitensemble Praetorius Orchestra Italiana di Flauti Dolci, Pan RO 1970-1979 2002: Connecticut RO, National Youth RO, 1970: Ensemble de Flûtes à Bec de Lyon The Scottish RO, Yamaha RO Yokohama 1976: Christchurch Youth RO 2003: Ensemble Mardi, It Frysk RO (formerly It Orkest), Manhattan (NY) RO, Phoenix RO, 1980-89 Yamaha Ginnza RO 1980: Shibuya Recorder Ensemble 2004: Exeter RO, Colorado RO (formerly Front Range 1981: Manchester RO RO), Los Angeles (CA) RO, The Northeast RO 1985: Peregrine RO 2005: Blockflötenorchester der Musik- und Singschule, 1987: Highland Park (NJ) Recorder Society & Flauti Oho, Seattle (WA) Recorder Society (also Garden State Sinfonia RO of Puget Sound until 2010) 1988: London RO 2006: Blockflötenorchester Birsfelden, Blockflötenorchester Sankt Augustin, “Chorus Flautorum” Viechtach 2007: Blockflöten Orchester Mainz, Erlanger Blockflötenorchester, Landes-Jugend- Blockflötenorchester Baden-Württemberg 2008: Blockflötenorchester Zürichsee, RO of the Midwest (IN), Württembergisches Blockflötenorchester 2009: Blockflötenensemble NORWIND, Blockflötenorchester Belflauto, Kinder Blockflötenorchester Klangfarbe, Lüneburger Blockflötenorchester

2010-2012 2011 Blockflöten Orchester Berlin “BOB” 2012: Barbary Coast RO (CA)

Dates of Formation Unknown: Adirondack Recorder Band and Mining Company, Melbourne RO Contact information for some recorder orchestras is listed at: www.recorderhomepage.net/cgi-bin/db.cgi?db=socie ty&uid=default&Record=&Country=&State=&Affiliation=& Title=orchestra&Contact=&Address=&Phone=&Fax=&Emai l=&WWW_Page=&Notes=&keyword=&mh=10&sb=--- &so=ascend&view_records=View+Records&nh=2

24 Summer 2013 American Recorder Chapters, Consorts & Recorder Orchestras ______A recorder orchestra meets to honor its founder, ______and another plays up a storm Tuesdays are rehearsal nights for the permit to leave, with swastika-stamped The conductor studying the blond, Los Angeles Recorder Orchestra passports, and traveled by train out of blue-eyed Aryan mother failed to (LARO), which performs in at least Austria, gold jewelry sewn into her notice the Jude stamp on her passport, four California venues a year. But on mother’s skirt and baby sister’s blankets. so they managed to cross the border. a special Tuesday in February, instead of the Bach and Telemann they’d been practicing for their 25th concert, “Baroque Inspirations,” they turned to Happy Birthday as a surprise. The dress rehearsal, for a February Baroque Festival in Redondo Beach, CA, and other locations during March, became a party dedicated to the orchestra’s founder, Lia Starer Levin, on the occasion of her 90th birthday. Levin, an early music scholar, conductor and master recorder teacher, founded the group in 2004. She contacted Tom Axworthy, who agreed At the February LARO rehearsal, a chamber group including to become music director and conduc- Lia Levin (second from right) prepares for an upcoming con- tor of the orchestra, and the new cert; conductor Tom Axworthy (playing at left) wrote: ensemble quickly emerged. “Lia’s love of music and especially of the recorder inspires all It was on a kibbutz in Israel that of the members of the Los Angeles Recorder Orchestra, and Levin encountered her first recorder. her students. Recently, while rehearsing a select group for a She always had an amazing ear, recog- Baroque Festival, I noted that the younger players and I, at nizing and naming pitches even before 65, were more exhausted from the repeated sessions than Lia, starting piano lessons. whose stamina and ability at 90 outlasted us all. I attribute Before that the family owned a this to her unabated drive for the ultimate fulfillment, the joy perfumery in Vienna, Austria. At age of making music.” seven, Lia sat at the grand piano at home pretending to practice—but Barbara Blinder instead improvising while reading man holds birthday storybooks. Her mom learned from greetings to Levin the housekeeper one day that Lia had from Levin’s City practiced dutifully for three hours! Councilman for her Everything changed when the contributions to the Nazis marched into Vienna in 1938. cultural life of Los Her formal schooling ended when all Angeles. Jews were expelled. Soon after, her father escaped to Switzerland, leaving (Photos by to Lia’s mother the task of negotiating Dana Ross with the Nazis for the dissolution of Photography) the family’s property. They obtained a www.AmericanRecorder.org Summer 2013 25 The Starers met their father in she founded a music conservatory in school degree, she decided to pursue Italy, booking passage on the freighter Be’er Sheva, offering jobs to the many academic credentials. She received a ship Gerusalemme to Israel. While on Eastern European immigrants there. Master of Piano Pedagogy degree board, Lia borrowed an accordion and In 1944 Lia became Lia Starer from Goddard College and a Ph.D. kept the other travelers entertained. Levin. Her husband served as Lieu in Musicology from International After two months at sea, they landed tenant Colonel in the Israeli military College with a dissertation titled: in Haifa and then moved to Tel Aviv. (becoming an acclaimed painter after “The Recorder in the Music of Purcell Lia joined a youth group, embark- he retired years later). They moved to and Handel.” (Published in 1981, it ing on kibbutz life, first at Ein Shemer Zahala, a military suburb of Tel Aviv, is available in the Clark Library, Uni and then at Sha’ar Hagolan. She where she taught recorder and piano. versity of California–LA, call number worked in potato fields, fruit orchards, She also sang soprano in the Israel fML410.P9L6.) In addition, Levin the chicken coop and the kitchen. Philharmonic Choir, which was often earned a teaching diploma from Trinity Someone brought a recorder from visited by guest conductors—includ- College of Music, London, and is Germany, but nobody knew how to ing, among others, Carlo Giulini. an ARS-certified teacher. play it. Lia picked it up and soon played The Levin family (now with As recorder orchestras began to freely by ear. She entertained at kibbutz three children) was sent in 1962 by make their mark in England, Germany events, with the children following her the Israeli Government to Mexico and Japan, Levin began to yearn to play around as if she were the Pied Piper. City. There she discovered a sophisti- in such an orchestra—and, with none Deciding to pursue music studies, cated, cosmopolitan musical commu- in California, decided to create one. she moved back to Tel Aviv to find a nity where she played in numerous She sought the advice of the members private teacher; no academies existed chamber ensembles. of the Manhattan (NY) Recorder then. One of the teachers she found, The family returned to Israel Orchestra to learn how to proceed, Emmanuel Amiran, later became during the 1967 Six-Day War, and and contacted Axworthy to serve Supervisor of Music Education for subsequently moved to Buenos Aires, as conductor and musical director. the new state of Israel. Along with Argentina, where Lia played recorder Invitations were sent to potential mem- recorder, Lia studied harmony, counter- with The Collegium Musicum. After bers, and LARO was born in 2004. point and conducting. Moving to another short stint in Israel, the family LARO thrives as a 30-member Jerusalem, she taught at the National moved back to Mexico City; she joined ensemble, playing tiny four-inch gar- Conservatory and at a school for the Sociedad de Flauta Barroca, per- klein and sopranino down to alto, underprivileged children from diverse forming at the prestigious Bellas tenor, bass, great bass, contra bass, ethnic backgrounds. In contrast, she Artes and the Poliforum Siquieros. subgreat bass and the eight-foot also taught very privileged children At the age of 55, Levin separated subcontra bass. The group has from the high school associated with from her husband. With an impressive recorded more than 25 CDs; visit the University of Jerusalem. Later on, playing resume, but lacking even a high www.larohome.org for information. At the age of 90, Levin is still the grande dame of recorder knowledge in her adopted city, content to continue teaching private students and playing in several music groups in LA. She is particularly delighted about LARO’s achievements—but, on her long journey, the little girl who discovered her musical talents in Austria has left behind students in many countries to carry on a musical legacy. Adapted from a piece by Nadia Lawrence, with input from Connie Koenenn and Levin. LARO’s next concert set is June 22 at Trinity Episcopal Church in Orange, CA, and June 30 at St. Bede’s Episcopal Church, Los Angeles.

26 Summer 2013 American Recorder Britten’s Fludde Takes Stacey Boal Victoria by Storm prepares for Noye’s Fludde By Stacey Boal, Victoria, BC, CAN

Recorder players in Victoria (BC) thought about per- distinguished themselves well playing formance practice, in the opera Noye’s Fludde recently, as particularly in part of a Benjamin Britten celebration. terms of instru- Conducted by Timothy Vernon, per- “There should be as many ments. Recorders formances took place February 14 have changed a good deal since the and 16 as a collaboration among recorder players as possible. 1950s. Britten’s original recorder sec- Pacific Opera Victoria, the Victoria ... Less than a dozen would tion probably used plastic Dolmetsch Symphony, and the Victoria Con make too small a noise.” instruments. How well I remember servatory of Music. them—the Bakelite plastic altos were I was delighted when my three gathered at the first rehearsal. Filling so heavy that it was hard to keep the main employers announced a festival three pews, we recorders drowned out footjoints from falling off. Wise players celebrating Britten’s birth centenary, the wind machine and the trumpets. held the instrument almost horizontal and asked me to recruit recorder players As a long-time viola player, I was to counter the effects of gravity. for Noye’s Fludde. Victoria has at least delighted. The conductor wanted to Just for fun, I tried playing the 30 active recorder players, so it wasn’t mute us, but we made apologetic noises dove solo with my mother’s old rose- hard to gather a recorder section, but and continued to play enthusiastically. wood Dolmetsch. I haven’t played it getting the music was another matter. Britten writes really well for the in years, but it was a perfect choice. Hurricane Sandy walloped the Boosey recorder. One could say that the Alpine The very light breath pressure and and Hawkes warehouse in NJ, and left Suite, the Scherzo for recorder quartet, the effortless high range were just their staff scrambling to get rental and the recorder parts in A Midsummer right for flutter-tonguing. However, music out to orchestras and opera com- Night’s Dream are delightful appetizers, as I played, I was reminded of how panies all over North America. while the Noye’s Fludde parts are sub- sticky that Dolmetsch varnish was; Luckily, I was able to locate a stantial in both length and technical I don’t miss that clammy feeling. score, which allowed to me to write challenge. The section recorders serve It was sad to play Noye’s Fludde for out the trickier bits as excerpts. Sec- three musical functions in the opera: the last time. I’m a cynical old pro— tion rehearsals began on Twelfth Night tutti in the hymns, evocative ostinatos but, even so, Britten’s music never fails in January and continued until full as some of the animals board the Ark, to move me. Sharing the experience of orchestra rehearsals began in February. and special effects for the storm. playing in a big orchestra with my Britten intended Noye’s Fludde to Three fine old Anglican hymns recorder colleagues was the best part of be a community endeavor, so I encour- serve as a framework for the narrative. the adventure. Many of them started as aged everyone to participate—not just Eternal Father, strong to save, and the beginners with me, so I am very proud the most advanced players, or only my Tallis Canon are particularly moving of them. We all found ourselves wish- own students. Players from several when the congregation sings along ing that there were other similar works communities responded to my e-mails; with the orchestra. As the soprano out there in the recorder repertoire. Vancouver, Nanaimo and the Gulf recorders rise over all the other instru- I am very much pleased that Islands were keen to get in on the fun. ments and voices, it is recorder heaven. Victoria’s musical community is now Ultimately, there were 13 of us. The storm music calls for slow aware of the recorders among us, and Britten writes about his expectations chromatic scales in three-part harmony, I look forward to rewarding collabora- for the recorder section; “There should with both altos and sopranos right at tions with other ensembles that we be as many recorder players as possible, the top of the range. It truly sounds met during the production. The chil- divided equally into three parts. Less like screaming storm winds. We made dren’s choir and the handbell choir than a dozen would make too small a terrifying noise. were interested in the possibilities a noise.” As I worked on the solos, par- of joint performances. This venture There was a certain amount of ticularly the passage that describes was an experience that I heartily rec- shock when the whole orchestra the release and return of the dove, I ommend to any recorder player. www.AmericanRecorder.org Summer 2013 27 Other News North As indicated on the web site the anniversary celebration. The group of the 49th Parallel of TEMPO, the Toronto (ON) Early also has a YouTube channel, www.you- Members of the Edmonton (AB) Music Players Organization (http:// tube.com/user/SocieteFluteMontreal. Recorder Society (ERS) haven’t been homes.chass.utoronto.ca/~dresher/ Besides attending monthly sight- twiddling their thumbs; they have kept TEMPO), their monthly Sunday after- reading sessions (for intermediate-level them on the thumb rest. Earlier this noon readings, which welcome other players of at least two kinds of record- spring, the group held a “drop-in” at the instruments, have not abated; in fact, ers), most Montréal chapter members home of its president, Vivien Bosley, attendance has increased this year. also play in one of four graded classes to allow members to look at music and TEMPO members always look for- (coached by Caroline Tremblay, form groups in which to play for an ward to their annual fundraising Tea Francis Colpron/Femke Bergsma April 20 gala. “Invitation to the Dance” and Silent Auction, this year on June 2. and Gilles Plante); or in the recorder is their community event embracing all The Montreal (QC) ARS chapter, orchestra under Sophie Larivière. kinds of dance—an event for recorder Société de Flûte à Bec de Montréal, and non-recorder participants alike. is planning its 50th anniversary in The success of the annual Gala 2014 and has launched a contest was a surprise—perhaps attributable to for a new logo. The chapter web site, an interview before the event; video is www.fluteabecmtl.ca/Accueil_E.html, at www.edmontonjournal.com/Concert is also slated to be revamped as part of +preview+Celebrating+lowly+recorder +with+video/8260818/story.html. The 100 people attending were enthusiastic about the performers, from school children to seniors. Jan Dammann got delightful performances from the young players and from ERS’s Ritz Ensemble, which she coached for several weeks. Three young dancers tapped their way through Puttin’ on the Ritz. Large quantities of non-perishables were collected for a local food bank. Watch the chapter web site for notice of their fall “Nordegg retreat”: www.edmontonrecordersociety.org. The Orange County Recorder Society (OCRS) held its annual all-day CHAPTER NEWS recorder workshop on February 16 at First United Methodist Church in Chapter newsletter editors and publicity Fullerton, CA. A total of 33 enthusiastic recorder players from Southern officers should send materials for publication California attended. Coordinated by Andy Dykes with assistance from [email protected], to: AR, Susan Mason, the workshop was led jointly by Hanneke van Proosdij 7770 South High St., Centennial, CO Rotem Gilbert 80122-3122. Also send short articles about (right above) and (facing away), with session levels designed specific activities that have increased chapter for both intermediate and advanced groups. membership or recognition, or just the Both tracks started off with technique sessions, followed by two additional enjoyment your members get out of being part of your chapter. Digital photos should be at sessions. All assembled for a closing final tutti gathering. The music selected least 3”x4”x300dpi TIF or unedited JPG included pieces by Peter Philips (Pavan Passamezzo-Deo Gratias), John files. Digital videos for the AR YouTube Dowland (The Earl of Essex Galliard and Can She Excuse My Wrongs), Pierre channel are also accepted. Please send news, photos or video enquiries to the AR address de la Rue (Myn hertaltyt heef verlanghen), William Brade (Paduana and above, and to the following: ARS Office, Galliard), Tomas Luis de Victoria (Introitus: Requiem Aeternam from Officium [email protected], Defunctorum), and Hieronymus Praetorius (Venite exultemus Domino). 10000 Watson Rd., Ste. 1L7, Saint Louis, MO 63126; and to Bonnie Kelly, Gilbert and van Proosdij treated participants to a short joint performance, Chair, Chapters & Consorts, highlighting music to which all can aspire. [email protected] , Next season OCRS celebrates its 40th anniversary, in concert with 45 Shawsheen Rd. #16, Bedford, MA 01730. the 75th anniversary of ARS.

28 Summer 2013 American Recorder Music Reviews ______Recorder orchestra and other music for “biggies”; ______American and Australian pieces

SOLVEIG’S SONG FROM PEER CONCERTO GROSSO, OP. 8, is in 4/4 and sets off dotted-rhythms GYNT SUITE, No. II, Op. 55, by by Richard Peter Maddox. in the melody parts against a chanter- Edvard Grieg, arr. Hans- Orpheus OMP132 (www.orpheus- like bass section. Dieter Michatz. Moeck 3328 music.com.au), 2004. AAATTBgB. “The Star of the County Down” (www.magnamusic.com), 2012. Rec Sc 24 pp, pts 7 pp ea. Abt. $26. is a truly lovely, mournful piece and orch, 12 players, S’o/SSAATTTTBB Australian composer Richard has the most variety of textures in this gBcB. Sc 15 pp, 7 pts 2 pp ea. Abt. $29. Peter Maddox (b. 1936) has produced a collection. Hans-Dieter Michatz is a per- large output of concert and educational The final piece, “Old John’s Jig,” forming artist on flute and recorder, music. He is particularly noted for his sounds really lively when taken at the and is Classical Performance Studies vocal music. Concerto Grosso is a three- recommended =120 and should pro- q Coordinator at the Australian Institute movement work for recorder ensemble; vide the greatest challenge, as all the of Music in Sydney. Already having two alto recorders are designated as parts get the melody from time to time. treated the entire Peer Gynt Suite No. 1 concertino players, with the remainder This is an upper-intermediate in a previous publication, here he has of the group as ripieno accompaniment. piece and takes about 10 minutes to faithfully transcribed Solveig’s lovely The work is straightforward in perform. song, rendering it for 12 or more musical content and well-suited for players. a school or amateur ensemble. Two RAINDROPS, by Sylvia In “The Recorder Orchestra” fast outer movements frame a lyrical Corinna Rosin. Moeck EM3323 series by Moeck, the parts, once legally adagio. There are no dynamic or (www.magnamusic.com), 2011. Rec purchased, are intended to be photo- phrasing markings. orch, S’oSSSAATTBgBsB. Sc 10 pp, copied to suit the size of the group. Carson Cooman is an active com 7 pts 1-2 pp ea. Abt. $26. Sopranino is optional, and great bass poser with a catalog of more than 600 An original composition in a and contra have the option of reading musical works in many forms, ranging slightly modernist vein, Raindrops from either treble or bass clef. The bass from solo instrumental pieces to operas, combines moments of Impressionist recorders function as inner voices, leav- and from orchestral works to hymn tunes. beauty with some dissonances in major ing to the largest instruments the job His work is recorded on over 10 labels, second clusters. It provides a good of anchoring the harmony. including Naxos and ABC Classics. workout for the basses. Individual parts are not technically This requires upper intermediate difficult for intermediate players, but A CELTIC CLUSTER FOR players and lasts about 4 minutes. the dynamics, phrasing and intonation RECORDER ORCHESTRA, call for very sensitive playing. Care is by Steve Marshall. May Hill GOD REST YOU MERRY, required to bring the melody out. In Edition MHE10905a. Peacock Press GENTLEMEN, arr. Sylvia some spots it is doubled or even tripled (http://recordermail.co.uk), 2005. Corinna Rosin. Moeck EM3314 in octaves; in others, sensitive balancing Rec orch, S’oSAATTBgBcB. (www.magnamusic.com), 2010. of the number of players on a part will Sc 33 pp, pts 4 pp ea. $18. Rec orch, S’oSATBgBcB. Sc 10 pp, be helpful. Inspired by Paul Clarke’s Irish pts 1-2 pp ea. Abt. $20. With care, this will be a sweet spot Suite, these four pieces can be played Suitable for holiday performances, in a program. individually or as a Celtic-themed this nice arrangement of the familiar Kathleen Arends has enjoyed playing suite. “The Road to Lisdoonvarna” is Christmas carol combines traditional recorders for 40 years and being an Orff in a 6/8 jig style with frequent melody harmonies with some modern ones. It music educator for 34. She teaches and doublings among the various parts— also provides several variations on the plays in the Seattle (WA) area. a shortcoming in an orchestral piece, tune, with the final one being played in my opinion. “The Harvest Home” mostly in continuous eighth notes in

www.AmericanRecorder.org Summer 2013 29 the top two lines; those players will and is a member of the Recorder Orchestra need to be at the upper-intermediate of the Midwest. The piece starts glowing level to play it successfully. in all of its colorful richness. Performance time is approximately Abendsegen from “Hänsel 4-5 minutes. und Gretel,” by Engelbert Forgotten is every Humperdinck, arr. Irmhild OUVERTURE MINIATURE Beutler. Moeck 3327 (www.magna- comparison with the FROM THE NUTCRACKER music.com), 2011. Rec orch, SSAA BALLET, OP. 71, by Peter AAATTTBBBBgBcB. Sc 8 pp, 5 pts familiar opera version! Tchaikovsky, arr. Dietrich 1-2 pp ea. Abt. $22. Schnabel. Moeck EM3318 Moeck continues to publish its thus, these instruments play nonstop— (www.magnamusic.com), 2011. Rec recent series of arrangements of whereas, at the other end of the spec- orch, SSSAATTBBBgB, triangle. Romantic orchestral favorites, with its trum, the two soprano players wait to Sc 14 pp, 13 pts 2 pp ea. Abt. $40. usual high quality of print and musical play their total of 35-40 notes in the This is probably the most ambi- layout. This excellence in publishing is piece. I had my reservations about this tious piece of the ones reviewed by me exhibited in this arrangement of the arrangement’s suitability for recorders, here. Once you get past the incongruity evening prayer from Humperdinck’s especially since the original in its rich, of Tchaikovsky being played on record- fairy-tale opera Hänsel und Gretel. symphonic sound is so well-known ers (older readers may be familiar with The parts are printed in sensible among audiences. the Dolmetsch ensemble’s playful out- part-scores: all alto parts are printed But … as soon as the first notes ing on an early Hoffnung LP), you will on one sheet, all tenors on another are played by a recorder orchestra, the find a fairly faithful adaptation of the sheet, and so on; thus, there are only piece starts glowing in all of its colorful orchestration—including a triangle! five parts. Permission is given to photo- richness. Forgotten is every comparison This is a very worthwhile and copy as many copies of parts as needed with the familiar opera version! rewarding challenge for any recorder as long as you are the original pur- The vocal parts are placed in the orchestra not afraid to step outside the chaser. Even for large orchestras, the first and third tenor parts (with text more traditional recorder repertoire. music is not expensive. added, so the player really knows what It requires advanced players. The well-known prayer about 14 the music is about). The dense har- Performance time is 6-8 minutes. angels, standing all around the bed to monic texture works on recorders; in watch over the children’s sleep, is the manner in which the music is dis- ELF, by Alan Davis. Peacock Press arranged by German recorder player tributed to the different instruments, P243 (http://recordermail.co.uk), n.d. Irmhild Beutler. Beutler has extensive there are no intonation problems that a Rec orch, S’o/SSSAATTBBgBcB. playing experience in the professional standard group can’t solve. Every rest is Sc 14 pp, pts 3 pp ea. $18.50. recorder trio Ensemble Dreiklang, and perfectly positioned and makes the This fairly long piece repeats she is the conductor of the recently- sound change in a really touching way, its motives in various sections, both founded Berlin recorder orchestra adding one part or omitting another melodically and harmonically in a “BOB” (Blockflötenorchester Berlin). one. way that I don’t find very musically Thus, she is very familiar with the The metronome marking of 60 attractive. Your mileage may vary, possibilities of recorder ensembles. seems to be much too slow. of course—particularly if you enjoy Nevertheless, at a first glance over Beutler changed the end of the minimalist compositions like this one. the score, there are strange things: a piece to achieve a more idiomatic con- Upper intermediate players are high B for tenor recorder, or high E clusion for recorders; everything she required for Elf, which takes from for bass while playing piano. The has written throughout the piece is 6-8 minutes to perform. orchestral texture with its 15 parts is well-thought-out and a perfect match Charles Fischer is a recorder player permeated by rests; in fact there are for a performance on recorders. The and teacher living in Bloomington, IN. only four bars where all parts play at multiple melodic lines meld into a con- He studied recorder with Marleen Mont the same time. The layout of the parts tinuous interwoven musical strand that gomery and Walter van Hauwe and is the is unusual too, with its big block of leads convincingly from the first soft author of The Recorder from Zero and middle instruments: 11 of the parts notes to the climax and on to the last Alto Recorder From Zero. He also sells are intended for ATB recorders. shimmering and whirring chord. new and used recorders on his web site for There is only one part for the This arrangement is definitely Unicorn Music, www.buyrecorders.com, great bass and one part for the contra; different from the original, but by no means at all is it weaker musically. On 30 Summer 2013 American Recorder the contrary, this version of Humper mith Neukölln music schools in Berlin. Beutler states that the “technical dinck’s Abendsegen generates the most She composes and arranges pieces for level of playing is easy, however the beautiful sound from a recorder orches- her students as well as for her group. piece is rhythmically subtle.” By that tra—and, since it is not difficult to play, Beutler (b. 1966) is also a member she means that players will need to it brings out the best of this ensemble. of Ensemble Dreiklang Berlin. She work out smooth shifts between 3/4 Dietrich Schnabel has been involved teaches music at the Leo-Borchard- and 6/8. The sopranino part goes very in musical training for adults since his Musikschule Steglitz-Zehlendorg and high and requires a sensitive player. school days. Early on, he specialized in co-founded a private music school The great bass and sub bass parts are working with recorder orchestras and called Berlin-Charlottenburg. very easy—good parts for less experi- now enjoys international renown as a The Kanon (Johann Pachelbel’s enced players on those instruments. leading professional conductor of four Canon in D) is here in the key of G to recorder orchestras—spread across “maintain the full range of the origi- JOHANN SEBASTIAN BACH Germany and all founded by him. nal.” Rosin has divided up the string TWO PART INVENTIONS, by See www.dietrich-schnabel.de/content/ parts of Pachelbel’s original into 12 J.S. Bach, arr. Eric Haas. vita/vitaenglish.html. recorder parts. This is one of the more Self-publ. (www.vonhuene.com), interesting versions of this well-known 2008. SB. Sc 32 pp. $15. KANON UND GIGUE FOR piece I have seen and requires more QUARTETT SPIELBUCH III RECORDER ORCHESTRA, by advanced players in some of the parts. FÜR VIER BLOCKFLÖTEN, arr. Johann Pachelbel, arr. Sylvia The “Gigue” is simpler and more Ulrich Herrmann. Noetzel Edi Corinna Rosin. Moeck 3317 straightforward. tion N4764 (www.edition-peters.com), (www.magnamusic.com), 2010. In the Marche, which is from 2009. Var. comb. of SATB recs. Rec orch, SSSAAATTTBgBsB. Jean-Baptiste Lully’s ballet Le Bourgeois Sc 47 pp. $23. Sc 10 pp, 5 pts 1-5 pp ea. $29. Gentilhomme, Rosin took a five-part SOLO ALBUM FÜR ALTBLOCK MARCHE POUR LA CÉRÉMONIE movement and arranged it into three FLÖTE, by Ulrich Herrmann. DES TURCS FOR RECORDER stanzas. She added a drum part and Noetzel Edition N4521 (www.edition- ORCHESTRA, by Jean-Baptiste suggests uses for a tambourine and a peters.com), 2007. A. Sc 36 pp. $24. Lully, arr. Sylvia Corinna triangle during stanzas two and three. CONCERTO “ALLA RUSTICA,” Rosin. Moeck 3316 (www.magnamu- This would be a good way to get a stu- by Antonio Vivaldi (RV151), sic.com), 2010. Rec orch, S’oSSATBgB dent—or a spouse who is musical but transcr. Nicola Sansone. sB, drum. Sc 7 pp, 9 pts 1 pp ea. $23. doesn’t play the recorder—involved Ut Orpheus Edizioni HS170 NACHTSCHWÄRMEREI AFTER during a concert. The music is at an (www.utorpheus.com), 2009. SATgB. THE SPANISH FOLKSONG intermediate level, with more chal- Sc 8 pp, pts 3 pp ea. $25.95. RONDAR QUE TE RONDARIA, lenges in the last few measures of the For advanced recorder players who arr. Irmhild Beutler. Moeck sopranino part. are tired of keyboardists having all the 3315 (www.magnamusic.com), 2010. Nachtschwärmerei (based on the fun, Eric Haas’s arrangements of the Rec orch, S’oSAATBBgBsB, glocken Spanish love song “Rondar que te Bach Two Part Inventions are for you! spiel. Sc 7 pp, 10 pts 1 pp ea. $23. rondaria”) emphasizes the ambiguity Haas writes in a personal letter the I love it when music states clearly and frustration that often accompanies following note: that one has permission to copy as love. Beutler created a tone poem built “All 15 Inventions are included in many parts as one needs (as long as from the themes of the original folk the original keys (difficult as some of it is done by the original purchaser!). song. The preface states that the title them are, they make excellent study All three of these new recorder orches- and the lyrics hint at the ambiguity of material). However, for some of the tra releases make that quite clear—so the meanings of the verb rondar; vari- more remote keys (such as E Major while the initial price may seem steep, ous meanings are to patrol, to swarm and A major), I have included more one can copy parts for as many as are about, as well as to woo. “recorder-friendly” transposed versions. in your group. All three of these pieces In this song, a man expresses his There are also transposed versions of are from Moeck’s series, “The Recorder agony while patrolling the streets the E-flat major invention (to avoid Orchestra.” searching in vain for his beloved. He some of the awkward passagework in Rosin (b. 1965) is a member of wants to court her but she does not the low register), as well as e minor and the recorder trio Ensemble Dreiklang appear. The man curses love as a pun- b minor (to d minor for a bit more res- Berlin and teaches at the Charlotten ishment and concludes the song with onance). I have tried to indicate the burg-Wilmersdorf and Paul-Hinde a sigh, Mi dulce bien! (My sweetheart). octave transpositions and any other

www.AmericanRecorder.org Summer 2013 31 changes in passagework clearly, so that I recommend this set for any seri- kinds of books—things to grab when players who feel confident enough to ous recorder player, whether you ever you don’t know what else to take to play the high passagework on bass can perform these pieces or not. If you play your ARS chapter meeting or weekly do so if they wish. I have also included these inventions with the ornaments recorder gathering. Bach’s famous Explication of the orna- and correct tempos, you will be able to The only drawback is that every- ments and written out some of the play almost anything in the repertory! one needs to purchase a copy of the ornaments as they appear in the text.” This volume would be an excellent book, as no parts are included—but the (The Bach “Explication” of the orna- warm-up book for less advanced play- volume is still a good value for the cost. ments is a valuable table for any serious ers as well. Take a few measures every Unlike Herrmann’s volumes for recorder player who doesn’t already time you practice, and challenge your- three, four and five recorders, Solo have access to one.) self to be as fine a player as Bach was Album für Altblockflöte consists of origi- This volume is straight-up Bach a composer. nal compositions or arrangements by Two-Part Inventions arranged for Those of us who have collected Herrmann, all for solo alto recorder. soprano and bass recorders. Not a previous consort volumes by Ulrich There is an arrangement of La Follia, note from Bach’s pen is left out— Herrmann know what useful books Greensleeves, one “after George and, needless to say, these are not for these are; the newest addition to the Friedrich Händel” called The the faint-hearted. collection, Quartett Spielbuch III für Hallelujah Chorus, and a Fantasie Because voice-leading is so critical vier Blockflöten, is no exception. freely based on Beethoven (“frei nach here, the soprano and bass are a good This book contains a variety of Ludwig van Beethoven”). The other choice for hearing each line cleanly, pieces in a variety of styles and compo- eight pieces are original compositions. but this creates a very sparse “open” sitional time periods using a variety Those who have the previous vol- sound, as the recorders don’t have the of SATB recorders (AATB, STTB, umes know that the style Herrmann same resonance capability as harpsi- AATB, etc.). Some of the pieces are leans toward in his own compositions chord strings. The end result has a virtually sight-readable for an interme- is very modern. The original works dryness to the sound, much the same diate group; others require more work. in this book are no exception: lots of as if these were played on an organ. In my opinion, these are “desert island”

32 Summer 2013 American Recorder THE FIPPLE DANCE, by Those of us who have who love to play great bass, but can’t find many opportunities to do so, will Glen Shannon. PRB Productions enjoy this arrangement. (www.prbmusic.com), 2007. Rec orch, collected previous consort Nicola Sansone, in her introduc- SATTBBgBcB (divisis in the top 6 tion, states that the piece “has been pts). Sc 21 pp, pts 3 pp ea. $20. volumes by Ulrich transposed a tone lower, from G to F This review is a little different, major, in order to give the recorders an in that it incorporates two perspectives. Herrmann know what advantage in the performance, both in From conductor Rosi Terada, the first general terms of better balancing and emphasis on the music is from the podium. useful books these are. sonority, and for the possibility to play The second perspective is from an orchestra the parts avoiding octave transposi- member, Mike Emptage. chromaticism and leaping melodic tions, particularly the virtuosic bass part lines make them challenging pieces. in the third movement, performable The Conductor’s Perspective For those who are less proficient without modifications.” In short, this is In 2006, the San Francisco Early on the alto recorder, this volume could for a more advanced great bass player. Music Society Recorder Workshop be used successfully as a warm-up and We are also told in the introduc- sponsored a recorder orchestra compo- skill-building tool. For example, in the tion that the original first violin part is sition competition, and this piece was piece entitled “Tierkonzert” (Animal assigned to the soprano, the violin 2 to chosen as the jury prize winner. As this Concert), Herrmann has different the alto, and the viola to the tenor, was to be a contemporary composition, animals “speaking in the music”: with the great bass on the original the rules carried some restrictions. Henne (hen), Hahn (cock), Kuckuck string bass. Sansone has taken care Only recorders could be used, but any (cuckoo), Hund 1 and 2 (dogs), Vogel to retain as much as possible of the extra effects using the recorder (singing (bird) and Katze (cat). None of these character of the original work. in the instrument, tapping it, etc.) were words is translated, so a German- Figured bass is provided, so a encouraged. Shannon is a very creative English dictionary comes in handy. realization of the continuo on a key- person; this composition, like his many Various techniques create each board instrument is possible (but others, is fun to play, and audiences animal’s unique sound: staccato fourths not mandatory). love it. for one dog; staccato repeated notes for The Concerto Alla Rustica is a rol- Shannon’s use of the instruments the other dog; trills and grace notes for licking, fun piece, and a great addition is quite practical. The piece requires 14 the bird; and descending staccato to a group that has a solid great bass players, as all of the parts except the minor thirds for the cuckoo, etc. After player in it! great bass and contra bass recorders each animal is first labeled, the patterns Valerie E. Hess, M.M. in Church have divisis. Lack of divisi in the lowest are found again in the piece, though Music/Organ from Valparaiso Univer- basses helps to provide a full, unified not labeled, leaving one to make the sity, is Coordinator of Music Ministries sound, and it also acknowledges that connection from musical memory. at Trinity Lutheran Church, Boulder, these instruments are usually in short This is a nice addition to the CO, where she directs the Trinity Con- supply. It should also be noted that the modern solo alto recorder repertoire! sort. She has also published two books great bass part is included only in bass Concerto “Alla Rustica is an unusual on the Spiritual Disciplines. clef. If instruments are available, instrumentation—and those of you Shannon encourages orchestra directors to add players on the lowest parts and to have no more than two soprano players. He includes analytical information in the score and points out critical compositional details. Now comes the fun part of this review! The Fipple Dance, a challenging piece, includes not just recorders but also oral percussive sound effects from the players. This includes “clucks” (his term describing tongue clicks), Tch (sharp “ch” as in “chair”), and Tchh (an extended “ch” lasting the duration

www.AmericanRecorder.org Summer 2013 33 of the written note). These effects take (3+2 or 2+3). It becomes very interest- cussive ideas but with some variations the place of actual percussion instru- ing when the rhythms happen simulta- in orchestration. ments. Getting accustomed to making neously. The melodic patterns in each sec- the oral percussion sounds without Whether in the 5/4 section or the tion of The Fipple Dance generally start tongue fatigue in rehearsal can be duple section, the melodies of the piece with clucking and gradually add parts challenging at first, as they are used are fun, interesting and lovely. Shannon in which recorders sound. I will not try throughout the piece. has a gift for writing memorable melo- to give detailed notes for each of the The Colorado Recorder Orchestra dies; he just puts them together in fun sections, but will sketch how the vari- (CRO) has performed this piece twice, and challenging ways. ous parts enter for the A section. The and it has become a favorite. However, One advantage in performing soprano and alto start with the cluck- from the experience gained from work- music of a living composer these days ing sound on the accented beats of the ing on this piece came a new motto: is the ability to communicate by e-mail. 3+3+2+2 pattern, and they are joined in you can never stop counting, and you One question asked was the possibility measure 5 by the first bass part sound- can never stop listening. of including percussion with the piece ing Tch on every eighth note. By mea- The piece uses ternary form to emphasize the rhythm. Shannon sure 9, soprano and alto are clucking on (introduction AABA Coda). The advised that percussion not be added the accented beats, both tenors and introduction features oral percussion until the piece was learned, and then it bass 1 are sounding Tch on every eighth before the low voices enter with the could be added “tastefully.” note, and bass 2, great bass and contra theme and its characteristic rhythm— CRO had two rehearsals working bass are playing the main theme with dubbed the “Mission Impossible” on each section before we put the piece the “Mission Impossible” rhythm. motive because of its rhythmic resem- together. As requested by Shannon, At measure 13, the two tenor parts blance to the theme from the 1960s percussion was added last, after all join in to play a more sustained, but TV show and later hit movies. was secure. In spite of its challenges, still staccato, melody. Measures 23-27 The suggested tempo for the it does work well for intermediate are especially fun, as the tenors take off main theme is =144 and =82 in the level players. on a countermelody (harmonized in duple-meter B qsection. Thish provides In discussing music with audiences thirds and fourths) to the more sus- the challenge of progressing from 5/4 after the concerts, The Fipple Dance tained and conjunct melody in the meter to duple meter and back again was a standout! It drew many com- soprano and alto parts. A brief one- for a grand finale. In the Coda, the ments and interest, and even gained measure theme occurs in measure 19 meter includes changes from 6/4 to the CRO a new member. for soprano and measure 20 for alto, 5/4. An interesting climactic effect near Rose Marie Terada is conductor and re-occurs in measures 29 and 30 the end is a diminished seventh chord of the Colorado Recorder Orchestra. for the two basses. that builds bottom-up from the contra Thus, section A moves from a bass to the soprano. Then the original The player’s perspective simple, quiet texture to a much denser rhythm returns one more time. As Terada mentioned, this composi- texture as it proceeds. A similar move In the 5/4 sections, Shannon sug- tion is AABA Coda in form. The two from simplicity to complexity occurs gests that the eighth notes be accented A sections are Allegros in 5/4 time, for the B and final A sections. as 3+3+2+2, but in some places there with both 3+3+2+2 (eighth-note) and Members of the CRO were ini- are straight quarter-note rhythms 3+2 (quarter-note) rhythmic subdivi- tially skeptical of our ability to learn sions. I found counting the five quarter The Fipple Dance in time for the per- KEY: rec=recorder; S’o=sopranino; formance. Terada did relax the tempo S=soprano; A=alto; T=tenor; B=bass; notes in each measure easier than gB=great bass; cB=contra bass; Tr=treble; counting the eighth notes in the in the allegro sections very slightly, qrt=quartet; pf=piano; fwd= foreword; 3+3+2+2 pattern, but some orchestra which helped build our confidence opt=optional; perc=percussion; pp=pages; sc=score; pt(s)=part(s); kbd=keyboard; members felt more comfortable count- (without doing damage to the com- bc=basso continuo; hc=harpsichord; ing eighths (very quickly!). poser’s intent). P&H=postage/handling. Multiple reviews The Fipple Dance turned out to be by one reviewer are followed by that The B section starting at measure reviewer’s name. Publications can be pur- 46 is an Andante in cut time. This sec- a favorite of the orchestra members. chased from ARS Business Members, tion continues the oral percussive We encourage recorder groups to try your local music store, or directly from this challenging and rewarding music. some distributors. Please submit music effects to support the nice, lyrical melo- and books for review to: Sue Groskreutz, dies. The return to 5/4 time occurs at Mike Emptage is a performer in 1949 West Court St., Kankakee, IL 60901 U.S., the Colorado Recorder Orchestra. [email protected]. measure 160 (a return to the A section), with the same melodic and per-

34 Summer 2013 American Recorder SONGS FOR A NEW NATION, “This song was extremely viols) in which every part has its own by William Billings, arr. interest and the parts together achieve Charles Nagel. Cheap Trills TR67 popular during the a rich sonority that most groups find (www.magnamusic.com), 2009. SATB/ American Revolution and is satisfying. TrTnTnB viols. 4 Scs 12 pp ea. $8.75. The four Reflections, like Ayton’s William Billings (1746-1800) is generally regarded as our other pieces based on existing music, considered to be America’s first native- first National Anthem.” are more than just “settings,” as the title born “musical genius.” implies. Each one has an introduction, In 1770, Paul Revere published and the tenor line by a few sopranos. a more-or-less straightforward rendi- his first book, The New England Psalm Except for the ‘fuging’ [imitative] section of the whole tune that could, in Singer, on some of the first paper man- tions of the songs…it [could] be help- fact, be sung—although the tune ufactured in America. Charles Nagel ful first to play the tenor and bass lines moves from part to part in the final has transcribed, with minimal editing/ alone, then add the upper two voices.” one, “Deep River,” instead of remaining transposing, 11 of Billings’s pieces This would also lend itself to use in the soprano, as in the first three: from various publications, such as by recorder orchestras or mixed con- “Were You There,” “There is a Balm The Singing Master’s Assistant, The sorts, as the doubling of the parts in Gilead,” and “My Lord, What a Suffolk Harmony and The Continental could be done by various ranges Morning.” Harmony. and types of instruments. After that exposition, melodic The pieces are titled by their When I first heard these, I was motives move from part to part in a tune name: Chester, Medway, Hart immediately taken back to a live per- free counterpoint with melodic orna- ford, Camden, North Providence, formance I heard in college. These mentations and sometimes rhythmic Dunstable, Brattle Street, Cohasset, are wonderful pieces, rich in the displacement reminiscent of 17th-cen- Great Plain, St. Enoch, For a Thanks history of early American music at tury fantasy settings, except that the giving after a Victory, and Washington a time when it was beginning to dis- basic song structure is ever-present. Street. Text is included, so these pieces tance itself from European influences. I was able to play Reflections with could be performed by singers, accom- This is a delightful collection at both recorders and viols, and the group panied by choirs alternating among a great price and would make a fun found them equally idiomatic for both. voices, recorders or viols. addition to a group’s repertoire. Recorderists will enjoy opportunities There is also an interesting note Valerie E. Hess for legato tonguing and expressive ruba with the first piece, Chester: “This tos, and should expect to work on long, song was extremely popular during the REFLECTIONS ON SPIRITUALS, controlled breaths. The pieces call for American Revolution and is generally by Will Ayton. Cheap Trills TR68 sensitive ensemble playing; our group regarded as our first National Anthem.” (www.magnamusic.com), 2010. SATB. agreed that the pieces in Reflections (Parenthetically, it is much more sing- Sc 12 pp, pts 4 pp. $7.75. would be excellent for recorder orches- able than our current one.) The text ROSY APPLE, by Raymond tras who have a conductor to shape the lists the names of generals in the Warren. Peacock Press PJT124 lines. (Several on a part would also help British army from the War of Indepen (www.magnamusic.com), 2008. A rec, with the breathing challenges.) dence and praises God for their defeat. S voice, pf. Sc 11 pp, pt 3 pp. $11. The four Reflections are not a suite, There are various ways to perform Both of these appealing sets could though either of the first two could be these brief pieces, which invite “inven- be described as “contemporary music paired with “My Lord, What a Morn tiveness in varying the instrumenta- for players who never liked ‘modern’ ing” as a mini-suite suitable for a tion.” Nagel continues: “Billings music”; melodious, harmonically late church prelude. Any of them (except employed an ‘additive’ method of com- Romantic, and readily accessible to lis- perhaps “My Lord, What a Morning”) position similar to procedures of Ren teners and players—intermediate to would be beautiful communion music. aissance composers: first the tune in the upper-intermediate for the pieces by Each group will likely find its own tenor line was written, then the bass, Will Ayton, and upper-intermediate to favorites. The music is nicely-laid-out then the soprano, and finally the alto advanced for Raymond Warren’s suite. and clearly printed in score and parts, line to fill in the harmonies. Virtually Both are settings of existing tunes— with extra middle parts in alto clef for everything he wrote was for four parts. American spirituals in Ayton and viols. It is very reasonably priced. In performance, he suggests that the British singing-game songs in Warren. Warren’s Rosy Apple consists of bass section be filled by half the voices Ayton is well-known to readers of three brief songs that do form a suite, in the choir and [suggests] that it be AR for his numerous consort pieces, with witty intertextuality behind their doubled at the octave by a few altos sweet music for the sweet flutes (or “children’s song” designation. The www.AmericanRecorder.org Summer 2013 35 composer notes that the tunes “are The suite was composed in honor tune floating above them. The playing taken from traditional singing games of the dean of English recorder teach- level is lower intermediate, but it does in which the children ... sing and ers, John Turner, for his 65th birthday require sensitivity to ensemble blend- dance rituals of choosing a partner in 2008. Turner is a champion of con- ing for it to be effective. and getting married.” temporary writing for recorders and In “Bayou Home,” originally com- The first, “Rosy Apple,” a circle played the recorder part in the debut posed for voice and piano in 1944, dance in which the participants weave of Rosy Apple. someone yearns for home while that in and out of hand-held arches, is Suzanne Ferguson is active as an person leaves it “to answer a call from marked poco lento semplice and features early musician in Ft. Myers, FL. She afar.” It is complex in structure, rhythm a sinuous, slurred recorder cadenza served on the ARS Board in the 1980s and dynamics. Throughout the piece, that begins and ends the piece and and is past president of the Viola da different lines pair up to emphasize intervenes between the verses. This Gamba Society of America. the melody or countermelodies. cadenza will take some practice. This piece has lyrics by Arvey Otherwise, the soprano sings the WILLIAM GRANT STILL: A for the top (alto 1) line. The editor verses unadorned and sparsely accom- RECORDER COLLECTION, by includes a number of comments to panied with sweetly rocking chords. William Grant Still, arr./ed. indicate shifts in tempo and dynam- The second movement, “Down Donald C. Wold. William Grant ics. Since (as the arranger indicates) by the Riverside,” is marked giocoso and Still Music (www.WilliamGrantStill. dynamics are difficult to control on has a staccato march rhythm, but is com), n.d. AATBgB, voice, perc. recorders, those markings would need said to be a skip-rope song. Again the Sc 45 pp, pts 8 pp ea. $48.95. to be interpreted in other ways to piano accompanies lightly, while the William Grant Still: A Recorder obtain the desired effect. The level is recorder punctuates with bits of the Collection makes available to recorder intermediate, though both the bass march theme that open up into triplet players music composed and arranged and great bass parts have low, rapid arpeggios in the last verse and coda. by a significant and distinctive African- passages that would be challenging The rolled Eb chord in the piano’s American musician. The six pieces use for an intermediate player. treble that ends the movement is inter- a wide range of moods in intriguing “I Feel Like My Time Ain’t Long” rupted with a brash forte entrance on arrangements that have interesting (1956) is a spiritual written with an low D for “Oats and Beans.” This final lines for all players, with effective use additional alto vocal part and tom-tom piece is called a skipping song (in 12/8) of bass and great bass recorders. All of percussion line. The composer’s note to in which a farmer chooses a wife in the the pieces have a top line that could performers, to play it “as if today might first two verses, and the group gives either be sung with or without a be your last,” succinctly describes the instructions on the duties of marriage recorder playing in unison. mood. Here the recorders are clearly in the last verse (“You must be kind, Still (1895-1978) is considered accompanying the vocal line, which you must be good,/ And help your wife the “Dean of Afro-American Com needs the contrast of the human voice to chop the wood”). Meanwhile, the posers” with over 150 works including to be fully effective. piano plods along with chords on every nine operas, five symphonies and four The top alto recorder line is not beat and the recorder swoops down- ballets. He is known for combining the same as the vocal line, using dif- ward in scalar passages that are also jazz, popular and classical styles with ferent notes and rhythms; the alto line marked with slurs that would repay the African-American themes in distinc- is also forced to jump octaves in order effort of getting them perfectly smooth. tive harmonies and rhythms. Some to avoid going out of range. The sec- By itself, the vocal part is straight- of the pieces in this collection include ond alto line, which is low in the range, forward, and could easily be sung by a lyrics written by Still’s wife, Verna sounds better when played on a tenor. confident child, but it’s often required Arvey (1910-87). Our group enjoyed the gorgeous har- to be in dissonance with either the “All That I Am” (1965) is a devo- mony, and the great bass part is so recorder or the piano; also, the interplay tional church hymn in which the words lovely I got goose bumps. of words and music demands clear dic- acknowledge the Lord as the source of “Memphis Man” (1923) is an tion and some ability to convey irony. all. The words, adapted by Arvey from arrangement of a blues song made The harmonic vocabulary and traditional sources, are included with famous by Ethel Waters. With lyrics the arc of the recorder line are recog- only the top line and could be sung by like “loves you like you’ve never been nizably in the 20th-century English a soprano or a tenor voice to great loved before,” it is a saucy piece in idiom of Ralph Vaughn Williams, effect. The lower four parts provide which all of the players need to hear/ Lennox Berkeley, and others who rich moving chords, recreating an know how the words fit into the music. reset traditional English tunes. organ-like sound and supporting the The two basses, often in the lowest end 36 Summer 2013 American Recorder “Sing! Shout! Tell the Story!” ... is a Christmas piece Order your composed in the style of a spiritual. recorder discs of their range, set the beat like the left hand on a piano, while the alto 2 and through the tenor players support and play against the top solo line. ARS CD Club! The impressive arrangement The ARS CD Club makes hard-to-find or limited release provides a basic blues structure includ- CDs by ARS members available to ARS members and ing a two-measure vamp. A performing others at the special price listed. All CDs shown are $15 each. Add Shipping and Handling: $2 for one CD, ensemble could devise a longer and $1 for each additional CD. For an updated list of all CDs: www.americanrecorder.org. more complex arrangement by repeat- ing sections, adding more verses (found Featuring Voices of Music and bach in other sources), and alternating play- ____ Bach & Telemann Sonatas, Preludes & Fantasias ing and singing the top line. All parts Hanneke van Proosdij, recorder & harpsichord; Joanna Blendulf, Baroque ’cello & viol; Carla are equally fun and challenging; this is Moore, Baroque violin; Rodney Gehrke, Baroque organ; William Skeen, Baroque ’cello; for upper intermediate level players. David Tayler, archlute. Bach’s Prelude from Suite in D minor (BWV 1008), Sonata for viola da gamba and harpsichord in D major (BWV 1027), Trio Sonata in C major and Prelude “Sing! Shout! Tell the Story!” from Suite in G major (BWV 1007); also Telemann’s Trio Sonata in D minor TWV 42:10), (1967) is a Christmas piece composed Fantasie in G minor (TWV 40:9), Fantasie for violin solo in E flat major (TWV 40:20) and in the style of a spiritual, proclaiming Quadro in G minor TWV 43:4). Pandore 2008 “My Lord, Jesus, was born on this day, ____ Concerto Barocco: Baroque Concertos oh glory, glory Hallelujah!” Most of the Hanneke van Proosdij, Katherine Heater, David Tayler, Cynthia Freivogel, Lisa Grodin, parts are at an intermediate level; how- Katherine Kyme, Carla Moore, David Daniel Bowes, Farley Pearce, Elisabeth Reed, William Skeen and Tanya Tomkins. Virtuoso concertos of Bach, Corelli and Vivaldi—both the ever, the great bass line requires a player Christmas Concerto of Arcangelo Corelli and the Concerto for Two Violins and Strings in D with upper intermediate skills. Minor of J. S. Bach. Also Bach’s Adagio, Vivaldi’s Concerto for Two Cellos, Tempesta di But the biggest challenge is in Mare, Concerto for Violin and Organ, RV 766; and a beautiful performance of Johann Pachelbel’s Canon and Gigue in D Major. Pandore 2010 building the necessary ensemble sound to make spirituals like this one sound ____ An Evening with Bach their best. Our group found that, after Hanneke van Proosdij, Louis Carslake, Dan Laurin, recorders; also Joanna Blendulf, Elizabeth Blumenstock, Rodney Gehrke, Lisa Grodin, Katherine Kyme, Jennifer Lane, we all learned the melody line, we Victoria Gunn Pich, Susanne Ryden, William Skeen, David Tayler. Along with the could more effectively fit our parts transcendent, instantly recognizable instrumentals of the opener, “Air on a G string,” this into the whole. album contains some truly lilting vocal performances. Susanne Ryden’s soprano sounds amazing and weightless on tracks like “Bist du bei mir,” while Jennifer Lane’s rich alto serves The last piece, “Sinner, Please as ideal counterpoint on more somber ones such as “Es is vollbracht.” This recording Don’t Let This Harvest Pass” (1950), features some of the world’s finest early musicians and rightly showcases their talents on is a revival meeting spiritual with the several purely instrumental selections, including Bach’s “Prelude in G Major” played on solo theorbo instead of ’cello—a lovely choice. Pandore 2007 altar call lyric, “Sinner, please don’t let this harvest pass, and die and lose your soul at last.” It has a plaintive sound to Please indicate above the CDs you wish to order, and print clearly the following: match the words, and a separate alto Name:______Daytime phone: (____) ______vocal part is provided. Address: ______City/State/Zip:______This is lower intermediate level, _____ single CDs x $____ = $______the most straightforward and easiest to _____ 2-CD sets x $____ = $______Shipping/Handling: $2 for one CD, $1 for each additional CD $______play of the set. If we were performing a _____ Check enclosed for TOTAL $______set of these pieces, we would probably _____ Please charge the above amount to my MasterCard, Visa or AmEx: # start with this one to establish a mood ______before moving on to the more complex Exp. Date: ______Cardholder’s signature:______and exciting arrangements. Mail to: arS, 10000 Watson Rd., Suite 1L7, Saint Louis, MO 63126 U.S. This set could be effective with Fax a credit card order to 866-773-1538 more than one instrument on each part. While all the pieces sound good www.AmericanRecorder.org Summer 2013 37 American Recorder Society Publications with just recorders, a vocalist would enhance the sound and interest. The Musical Editions from the Members’ Library: score book includes a biography of Still ARS members: 1 copy-$3, 2 copies-$4.50, 3-$6, 4-$7.50, 5-$10, 6-$11.50 Non-members (editions over 2 years old): 1 copy-$5, 2 copies-$8.50, 3-$12, 4-$15, 5-$19.50, 6-$23 and notes about individual pieces that Arioso and Jazzy Rondo (AB) Carolyn Peskin LeClercq’s Air (SATB) Richard E. Wood could be used to write program notes. Belmont Street Bergamasca (ATB) Sean Nolan Little Girl Skipping and Alouette et al Berceuse–Fantaisie (SATB) Jean Boivert (SATBcB) Timothy R. Walsh While all of the music is easy to Blues Canzonetta (SATTB) Steve Marshall Los Pastores (S/AAA/T + perc) read and clear, there were printing Bruckner’s Ave Maria (SSATTBB) Virginia N. Ebinger, arr. Jennifer W. Lehmann, arr. New Rounds on Old Rhymes (4 var.) problems, such as pages being bound Canon for 4 Basses (BBBB) David P. Ruhl Erich Katz Dancers (AT) Richard Eastman Nostalgium (SATB) Jean Harrod in scrambled order. The publisher was Danse de Village (SAB) Kevin Holland Other Quips (ATBB) Stephan Chandler contacted about the page order prob- Different Quips (AATB) Stephan Chandler Poinciana Rag (SATB) Laurie G. Alberts Elegy for Recorder Quartet (SATB) Santa Barbara Suite (SS/AA/T) Erich Katz lem, and is working to resolve it. Carolyn Peskin Sentimental Songs (SATB) David Goldstein, arr. The individual recorder parts are Elizabethan Delights (SAA/TB) Serie for Two Alto Recorders (AA) Jennifer W. Lehmann, arr. Frederic Palmer on a single page for each of four pieces Faded Memories/Opus 88 (ATBB/SATB) Slow Dance with Doubles (2 x SATB) William Ruthenberg Colin Sterne and two separate pages for the other Fallen Leaves Fugal Fantasy (SATB) Sonata da Chiesa (SATB) Ann McKinley two pieces. While this is flexible, we Dominic Bohbot S-O-S (SATB) Anthony St. Pierre Four Airs from “The Beggar’s Opera” (SATB) 3 Balkan Line Dances (SATB) Emilie George, arr. found it easy to mix-up pages in pass- Kearney Smith, arr. Three Bantam Ballads (TB) Ann McKinley Gloria in Excelsis (TTTB) Robert Cowper Three Cleveland Scenes (SAT) Carolyn Peskin ing out and collecting the music. It He Talks, She Talks (AT) Bruce Perkins Three in Five (AAB) Karl A. Stetson would be easier if all of the parts for Havana Rhubarb Rhumba (SATB up to Tracings in the Snow in Central Park (SAT) 7 players) Keith Terrett Robert W. Butts a single instrument were in a booklet. Idyll (ATB) Stan McDaniel Trios for Recorders (var.) These are not problems one expects Imitations (AA) Laurie G. Alberts George T. Bachmann In Memory of Andrew (ATB) David Goldstein Triptych (AAT/B) Peter A. Ramsey to encounter in a set priced near $50. In Memory of David Goldstein (SATB) Two Bach Trios (SAB) William Long, arr. This collection provides works Will Ayton Two Brahms Lieder (SATB) Lay Your Shadow on the Sundials (TBgB) Thomas E. Van Dahm, arr. from a significant American composer Terry Winter Owens Variations on “Drmeš” (SATB) Martha Bishop Leaves in the River (Autumn) (SATB) Vintage Burgundy (S/AS/ATT) with a delightful mix of styles. Erik Pearson Jennifer W. Lehmann, arr. ARS Information Booklets: FOUR RUSSIAN FOLKSONGS ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 , Non-members: 1 booklet-$18, 2 booklets-$33, 3-$44, 4,$55, 5-$66, 6-$76, 7-$86 by Lance Eccles. Orpheus Music *Free online to ARS members OMP177 (www.orpheusmusic.com.au), Adding Percussion to Medieval and Improve Your Consort Skills Susan Carduelis Renaissance Music Peggy Monroe Music for Mixed Ensembles 2007. SATB. Sc 7 pp, pts 4 pp ea. Abt. *American Recorder Music Constance Primus Jennifer W. Lehmann Burgundian Court & Its Music *Playing Music for the Dance Louise Austin $16 publ., PDF abt. $13. Judith Whaley, coord. *Recorder Care Scott Paterson Lance Eccles is a prolific, con- Education Publications Available Online and Free to Members temporary Australian musician who The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). arranges materials for his own consort Guidebook to the ARS Personal Study Program (1996). ARS Music Lists. Graded list of solos, ensembles, and method books. and for meetings of the Sydney Society of Recorder Players. Videos Available Online to All These arrangements for a recorder Recorder Power! Educational video from the ARS and recorder virtuoso John Tyson. An exciting resource about teaching recorder to young students. quartet are very short and simple. All Pete Rose Video. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recital. The video features Rose performing a variety of music and in an interview with ARS four pieces are at a low intermediate to member professional John Tyson. intermediate level with equally interesting parts. Unfortunately neither Other Publications Chapter Handbook. A resource on chapter operations for current chapter leaders or those Russian text nor English translation is considering forming an ARS chapter. ARS members, $10; non-members, $20. provided, so there is nothing to indi- One free copy sent to each ARS chapter with 10 members or more. Consort Handbook. Available Online and Free to Members. cate the mood with which they should Resource on consort topics such as group interaction, rehearsing, repertoire, performing. be played. Shipping & Handling Fees: Under $10 - add $3; $10-19.99 - add $4; $20-29.99 - add $5; $30-39.99 - “Farewell Happiness” is set in a add $6; $40-49.99 - add $7. All prices are in U.S. dollars. For Canadian or foreign postage, pay by credit card and actual postage is charged. Please make checks payable to ARS. VISA/MC/AMEX/Disc also accepted. minor key that creates a moody, bluesy sound, with short chromatic passages See www.AmericanRecorder.org for complete publication offerings, for sale and free to members. that keep it interesting. When it shifts from 4/4 into 3/4 for a few measures ARS, 10000 Watson Rd., Suite 1L7 and then back, the beat remains steady. St. Louis, MO 63126 U.S. 800-491-9588 The shift will provide a challenge for [email protected] lower level players, yet will not be too difficult. An Internet search of the 38 Summer 2013 American Recorder MORE Pieces from orpheus English title turned up a possible text: The piano part in Pisces is “Farewell, happiness, my life, I know music (www.orpheusmusic.com.au) you go without me. It means: “We composed primarily of scale- must part; I won’t see you any more.” SHEMOZZLE, by Robyn Ellis. like passages. “The Boundless Sea” is bright OMP18, 2008. A, pf. Sc 5 pp, pt 2 pp. and bouncy in 6/8, with the melody Publ. abt $19 (no PDF avail.). that tells us to imagine fish in a bowl, moving between the soprano and PISCES, by Pete Peters. MP162, swimming calmly and getting only alto lines. Unable to find any text, the 2006. A, pf. Sc 5 pp, pt 1 p. Publ abt. mildly excited at feeding time. I don’t group played faster than the suggested $17 (no PDF avail.). know about the bowl metaphor, as the “Moderato,” and used very light tongu- PROGRESS SUITE, by Tim piece is Impressionistic in character ing to avoid a sing-song sound. There Knight. OMP170, 2007. S, pf. Sc 6 and conjures up an image of fish swim- would be some challenges for newer pp, pt 2 pp. Publ. abt. $17, PDF abt. ming freely in the sea—to me, at least. players on the soprano and alto lines, $13.40. The piano part in Pisces is com- which stay in the upper octave and ELEANOR, by Rupert Kirby. posed primarily of scale-like passages could become shrill. OMP184, 2008. S, pf. Sc 3 pp, pt 1 p. that utilize the piano pedal, thus sus- The meaning of “The Little Publ. abt. $15, PDF abt. $12. taining the Impressionist feel. The Bell” is also critical for interpretation. FOR KIMBERLEY AND SALLY, tempo is quick, and the 8/8 meter Another online search found a mourn- by Rupert Kirby. OMP191, 2008. comes in handy for counting the 32nd ful text: “A little bell rings monoto- S, pf. Sc 6 pp, pt 3 pp. Publ. abt. $17, notes. The recorder part is fairly chal- nously along the dusty road, and over PDF abt. $13.40. lenging, but accessible to an intermedi- the expanse of fields resounds the These compositions for recorder ate player who is willing to practice doleful song of the coachman,” and and piano are welcome additions to the and who has good high notes. “So much sadness in that song bleak.” contemporary repertory for intermedi- Progress Suite by Tim Knight While individual parts are not difficult, ate players. They combine modern, but “progresses” from an easy Adagio that the challenge of this arrangement is not very dissonant, tonalities with tra- is not too interesting through an maintaining the mood, while the ditional rhythms. Melodically appeal- Allegro moderato to Lento tranquillo soprano goes up to high B, and the ing and fun to play, they are good and back to the Allegro. The piece fits alto to high E. choices for student recitals and other on alto recorder or sopranino, though The final song, “Do Not Reproach performances that do not require virtu- it is scored for soprano. The recorder Me,” starts in the key of C with the osity from either recorderist or pianist. sounds high Bb numerous times, and soprano playing the melody over a Rupert Kirby dedicates his pieces the final pitches are D above the staff walking eighth-note bass line that con- to individuals: Eleanor on her 10th and high G (fourth ledger line above tinues throughout the piece. On the birthday, Sally on her 70th birthday, the staff). It is low on the alto, but third repeat, the soprano and tenor play and Kimberley. No further information the sopranino sounds thin. We the tune an octave apart; on the fourth, is given, and there is no biography of recommend using alto with the the alto takes over the melody, going the composer. Eleanor’s song is appro- pianist playing very softly. up for more high E. Then there is a priate for a child player, with a tuneful This composition involves a num- dramatic modulation into Eb for the melody and a straightforward G tonal- ber of meter changes, as well as a mix final repetition, ending with a two- ity. It won the Orpheus Music Com of triplets and duple rhythms. There measure chromatic slide on the alto. position Competition in 2007. are a lot of accidentals, and some of This song arrangement is the best Sally’s piece demands considerably the fingerings are very tricky. of the group, with a beautiful melody, more skill, with a number of acciden- Despite the name Shemozzle, the most varied texture, and the most tals and more difficult fingerings. Robyn Ellis’s piece has a definite classi- challenge for higher-level players. For Kimberley is similar to Elea cal or intellectual feel. It is geared for Bruce Calvin started playing recorder nor’s song, but contains more challeng- an advanced intermediate recorder in college some unspecified years ago, and ing syncopations and accidentals. Kirby player, with a lot of high notes, tricky has reviewed videos and books for profes gives no tempo indicators, so we had to rhythms and ornamentation. The sional library publications over the years. guess. We played them at a fairly fast interplay with the piano is closer to a He and four others meet weekly in the pace, and pianist Marcia Ofri added duet than a solo with accompaniment. Washington, D.C., area to play recorders. some ornamentation, which gave them The layout of these pieces is clear The group enjoys Renaissance through a little more “punch.” and user-friendly. Notes about or by contemporary music, performing occasion Pisces was my personal favorite of the composers are included only for ally for special church events. the group. Pete Peters includes a note Ellis and Peters. A guide to level of www.AmericanRecorder.org Summer 2013 39 difficulty is given on the back pages long held notes. The second section ensemble looking for a rewarding chal- by publisher numbers, but they are introduces a sustained melody with lenge as well as a striking and accessible not complete; levels are not marked more regular rhythms, but still a great recital piece. on the pieces. number of grace notes and slides. Scott Paterson, a former ARS Board The publisher’s address is found The third section picks up the member, teaches recorder and Baroque on the back cover, but the web site nec- pace in an irregular 3+3+2 meter. flute in the Toronto (ON) area, where he essary for ordering is not. Orpheus cur- Here the energy comes principally is a freelance performer. He has written rently has no U.S. distributor, so you from the driving rhythms and the on music for various publications for over will need to refer to the web site listed interplay among the instruments. The 25 years, and now maintains his own at the start of this review. Three of final section returns to a more flowing studio after over 30 years at the Royal these pieces can be purchased as character, combining elements from Conservatory of Music of Toronto. PDF downloads at a reduced price. the opening two sections. An exotic I recommend these pieces, as they effect is also achieved by contrasting Consider advertising in are accessible and melodically/tonally open-sounding fourths and fifths appealing contemporary works. with warmer triadic harmonies Beverly Lomer is an Adjunct spiced with gentle dissonances. Professor of Humanities at the Harriet L. The piece would be approach- For current rates and specifications, see www.americanrecorder.org/pubs/adver.htm. Wilkes Honors College of Florida Atlantic able for an upper intermediate group Please inquire about discounts on multiple- University, where she teaches courses in willing to put in plenty of practice time, issue contracts or other special requests. Advertising subject to acceptance by music and culture. She is also a recorder but it would be most comfortable for magazine. Reservation Deadlines: player whose primary interest is in perfor an advanced ensemble with experience January 1 (Spring), April 1 (Summer), July 1 (Fall), October 1 (Winter). mance from original notation. in extended techniques. Ng asks for For more information, contact the ARS office, glissandi, pitch bends, multiphonics, 10000 Watson Rd., Ste. 1L7, Saint Louis, MO BATHiNG THE BUDDHA, by rhythmic breathing and tongue clicks 63126; 800-491-9588 toll free; 314-966-4082 Nicholas Ng. phone; 866-773-1538 fax; OMP150, 2006. in addition to the more traditional [email protected] SATBB/opt. cB. Sc 11 pp, pts 2 pp ea. ensemble challenges. Abt. $19.76 The various recorder sizes are used Classified rate for American Recorder: 60¢ per word, 10-word minimum. “FOR SALE” and Bathing the Buddha, by Canberra carefully as part of the piece’s construc- “WANTED” may be included in the copy composer and ethnomusicologist tion. The opening section is for four without counting. Zip code is one word; phone, e-mail or web page is two. Payment Nicholas Ng, was the winner of the sopranos, after which an (optional) must accompany copy. Deadlines are 2005 Orpheus Composition Contest. low F bass joins the SATB ensemble. one month before issue date. Send copy with payment to: ARS, 10000 Watson Rd., Ng deserves the award for his success It principally doubles the normal bass, Ste. 1L7, Saint Louis, MO 63126. in using non-Western melody and har- but Ng asks for it to be positioned at a mony to fashion an adventuresome but distance so as to give a stereophonic Advertiser Index approachable piece of recorder music. effect; it takes on a more soloistic role AMERICAN ORFF-SCHULWERK ASSN...... 26 Perhaps the most striking aspect of in the concluding section. AMERICAN RECORDER SOCIETY.. 1, 11, 14, 37, 38, IBC BEATIN’ PATH PUBLICATIONS...... 33 Bathing the Buddha is the use of unusu- The edition is easy to read and STEPHAN BLEZINGER...... 14 ally strong contrasts. The first, freely- is generally quite accurate with only JEAN-LUC BOUDREAU...... 10, IBC written section of the piece features minor errors. Bathing the Buddha BOSTON EARLY MUSIC FESTIVAL ...... 21 COUNTRY DANCE & SONG SOCIETY...... IBC quick-note figures interspersed among would admirably suit an open-minded EARLY MUSIC AMERICA...... 17 American Recorder (ISSN: 0003-0724), 10000 Watson Rd., Ste. 1L7, Saint Louis, MO 63126, HESPERUS...... IBC is published quarterly for its members by the American Recorder Society, Inc. $20 of the annual $45 HONEYSUCKLE MUSIC ...... 12 U.S. membership dues in the ARS is for a subscription to American Recorder. Articles, reviews and INDIANAPOLIS EARLY MUSIC FESTIVAL...... IBC letters to the editor reflect the viewpoint of their individual authors. Their appearance in this magazine LISETTE KIELSON, RECORDER PLAYER ...... 3 does not imply official endorsement by the ARS. BILL LAZAR’S EARLY MUSIC...... 3 KEITH E. LORAINE EARLY DOUBLE REED SERVICE. . . . . 6 Editorial Deadlines: December 15 (Spring), March 15 (Summer), June 15 (Fall), and LOST IN TIME PRESS...... 7 September 15 (Winter). Submission of articles and photographs is welcomed. Articles may be sent MAGNAMUSIC DISTRIBUTORS ...... 32 as an attachment (.doc or .rtf preferred) or text in an e-mail message. They should be for the exclusive MOECK VERLAG...... IFC consideration of AR, unless otherwise noted. Photos may be sent as prints, or unedited JPG or 300dpi MOLLENHAUER RECORDERS...... OBC TIF files (minimum 3”x4”). Advertisements may be sent in PDF or TIF format, with fonts embedded. PRESCOTT WORKSHOP...... 20 Editorial office: Gail Nickless, Editor, [email protected], 7770 South High St., THE RECORDER SHOP...... 28 Centennial, CO 80122-3122. Books and Music for review: Sue Groskreutz, 1949 West Court St., RHYTHM BAND/AULOS RECORDERS...... 8 Kankakee, IL 60901. Recordings for review: Tom Bickley, 1811 Stuart St., Berkeley, CA 94703. GLEN SHANNON MUSIC ...... 24 Cutting Edge: Tim Broege, 212 Second Ave., Bradley Beach, NJ 07720-1159. Chapter newsletters, SWEETHEART FLUTE CO...... 14 other reports: Editorial office. Postmaster: Send address changes to ARS, 10000 Watson Rd., Ste. 1L7, VERY GOOD RECORDER TRANSCR...... 7 Saint Louis, MO 63126. Periodicals postage paid at St. Louis, MO, and at an additional mailing office. VON HUENE WORKSHOP, INC...... 19

40 Summer 2013 American Recorder