N O V E M B E R 2 0
november 2008 Published by the American Recorder Society, Vol. XLIX, No. 5 3IMPLY HEAVENLY n OUR NEW TENORS AND BASSES WITH BENT NECK
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127(:257+<1(:6 from your friends at Magnamusic Distributors Purcell: Chaconne Orlando di Lasso: in F Major Motets For Four For Alto Recorder Voices and Continuo For AATB/SATB recorders Based on the piece Purcell Noted for his extraordinary musi- wrote for the birthday of cal talent, di Lasso wrote over King James, and then again 2000 works in almost every style. for the semi-opera King These 6 truly beautiful pieces Arthur, this piece fits the recorder so well that Carol Dol- have been artfully transcribed for recorders by one of our favorite metsch arranged it in the 1950s. A must for anyone who editors, Charles Nagel. loves Purcell. Score and parts for alto recorder, flute, 12 page score and parts. violin or oboe and basso continuo. Item Number TR00064. Item Number LMP0205 $8.50 $5.75 Priuli: Salvum me fac, Deus English Madrigals WhoGaveTheeThyJollyRedNose For SATTTBB recorders A wonderful collection of famous madri- Item number ADC0125, $10.50 gals from your favorite composers set per- fectly for recorder trios, quartets and quin- Trombetti: Ad te Domine tets. Score only. For SSAATTB recorders Volume 1: Item # DOL0131, $8.75 Item number ADC0121,$10.50 11 madrigals for AAT recorders. Delight- Pevernage: Bon jour mon cueur ful pieces by Morley, East, Ward, Wilbye. For SSAATTBB recorders Volume 2: Item # DOL0132, $8.75 Item number ADC0124, $11.50 11 more madrigals for SATB recorders.A Lappi: Canzon decimanona, varied selection, some light, some serious, Tunes from the Taverns, Streets and La Leona by Morley, Farmer, Ward and Wilbye. Theatres of 16th and 17th Century For SSAA+ATTBB recorders Volume 3: Item # DOL0133, $8.75 England Item number ADC0120, $11.50 9moremadrigalsforSSATB recorders.A Gabrieli: Judica me, domine selection of short madrigals, canzonets and Arranged for 1, 2, 3 and 4 recorders by For SSATB+ATTBB recorders ballets by Vautor, Weelkes, Morley and Lucie Skeaping and Roddy Skeaping Item number ADC0077, $12.50 Wilbey.
These English tavern pieces pictured above were favorites of the 16th and 17th century. Lucie and Roddy Skeaping have skillfully collected 21 of the most treasured tunes and arranged them for 1, 2, 3 and 4 recorders complete with full, colorful lyrics. Examples include Drive the cold winter away, (SATB), The plain downright merry wooing (SATB/STTB), The lunatic lover (ATB), The husband who met his match (SATB) and lots more. 28 page score. Item number PRM0300.$14.95
Teschner: Pops and Drops Muro: In the Beginning For SATB Recorders For Soprano Recorder, with CD Techner has been a hit with jazz, big This wonderful collection is one of Don band and modern recorder players Muros most accessible songs for young because of his lively and beautiful beginning children. These 7 latest add-a- arrangements. This suite of 4 pieces is note songs with CD accompaniment are connected in its pop music style and sure to be a hit with young children all its tonal pulsating rhythm that never over the country. breaks off. 13 page score and parts. Item # RM0017KCD, $14.95 Item # MK02142, $39.00 Extra scores and CDs available. TOLL FREE 888-665-2721 Call us with questions or to order Shop online at www.magnamusic.com and see sample scans of these and many more pieces EDITOR’S ______NOTE ______Volume XLIX, Number 5 November 2008 he best way I’ve been able to describe Thow I learned to play alto recorder is FEATURES that it was like learning a foreign language. Using Repertoire to Learn to Play As a player of the modern silver flute, I had Alto “an Octave Up”...... 14 picked up soprano fingerings quickly, but by Anthony Rowland–Jones it took longer to complete my transition to alto (which did feel physically more com- fortable in terms of finger spacing, being DEPARTMENTS more like my flute in size than the soprano 4 was). For a while, I was still “thinking” Advertiser Index ...... 40 in my soprano fingerings and translating Chapters & Consorts ...... 30 to alto; eventually I learned to “think” in Classified ...... 40 alto, somewhat like learning to think in a language other than English. Compact Disc Reviews ...... 26 Then I found out that there was Education ...... 24 yet another step to learning alto: when the Music Reviews...... 35 printed part went too low for the instru- 11 ment’s range, I had to automatically trans- Opening Measures ...... 22 pose up an octave. For me, that was easier President’s Message ...... 3 than learning alto to begin with. In pit Q&A ...... 12 orchestras for musical productions, I had sometimes had to play a violin (or even Response ...... 34 saxophone!) part on flute. I jumped in and Tidings ...... 4 figured out how to play alto an octave up. Focus on Business Members; Recorder Music Center update; What worked for me may not work 28 for you. Anthony Rowland–Jones has Montréal Recorder Festival 2008; Kees Otten (1924-2008) written a step-by-step way to learn alto up that gives the player a dependable set of anchor-notes (page 14). This may be ON THE COVER: "Sternenmond" especially helpful for students who are Illustration by unable to take private lessons regularly Jenny Schneider on recorder. ©2008 This method may also be useful for classroom teachers who have students ready to move to the alto recorder. Other items of interest to teachers in this issue GAIL NICKLESS, Editor are Carolyn Peskin’s Q&A column (page 12) outlining when to be concerned Contributing Editors FRANCES BLAKER, Beginners & Technique; TOM BICKLEY, Compact Disc Reviews; by the effect of classroom sound on CONSTANCE M. PRIMUS, Music Reviews; CAROLYN PESKIN, Q & A hearing (think of a roomful of soprano TIMOTHY BROEGE, 20th/21st-Century Performance recorders!). Teachers or friends of adult GLENNA LANG, Design Consultant beginners can draw on advice about taking up the alto before learning soprano in an Advisory Board Education column by Leslie Timmons Martha Bixler • Valerie Horst • David Lasocki Bob Marvin • Thomas Prescott • Catherine Turocy (page 24), and on striving for beautiful Kenneth Wollitz tone in the Technique Tip from Bart Copyright © 2008 American Recorder Society, Inc. Spanhove (page 25). Frances Blaker begins a two-part Opening Measures Visit AR On-Line at
6 American Recorder PRESIDENT’S MESSAGE ______Au revoir (but not adieu)
his is my last President’s column. beats in a measure TThese two years have been fun, “... the instrument “threw me.” (Poor challenging, and rewarding. We have a math skills didn’t wonderful Board and staff that made my remains ‘of the people’ help). job a pleasure, with new members who as well, the perfect I needed encour- promise to carry us confidently into the fu- agement and affirma- ture. I look forward to working with window into the world tion at my age, which Lisette Kielson, our new President, who of music for explorers of I received from a will lead our organization with skill and patient and dedicated passion. all ages and life-styles.” teacher at the Joy of I am writing in Montréal, QC, where Music community school in Worcester, the Board has just finished its fall meeting. perfect window into the world of music for MA. She worked with me tirelessly, and Planned to coincide with the Montréal explorers of all ages and life-styles.” At the I now feel secure and comfortable in International Recorder Festival, the meet- end of this column, you’ll see one last my roughly high intermediate level. ing involved a co-hosted reception for the installment in my collection of short For years I have attended recorder winners of the ARS Composition Contest, articles from one of these explorers. workshops, monthly ARS chapter meet- where we presented certificates to You will receive your ARS President's ings and day-long annual workshops. winners Matthias Maute and Glen Appeal letter in November. I hope that, in I play in a trio and quartet and belong to Shannon (William Ashworth was spite of the state of the economy, you will the Worcester Music Club where mem- unable to attend). In between Board consider giving as generously as you can. bers are required to perform for each sessions, we were inspired by wonderful I’ll make my donation with gratitude for other twice a year. The recorder groups are performances given by Pierre Hamon, the wonderful people I’ve met and the often intergenerational and add delightful Ensemble Caprice, and the duo of Daniel places the recorder has taken me, and contacts with interesting and enthusiastic Koschitzki and Andrea Ritter. Our won- for the organization that brings our players. derful hosts, members of the Montréal community together. In sharing the musical experience, ARS chapter, were gracious and welcom- With best wishes, relationships move to a more immediate ing. Many thanks to everyone in Montréal Letitia Berlin, ARS Past President and deeper level. This is what feeds the who made it a wonderful weekend!
November 2008 7 TIDINGS ______Ensemble Caprice in concert, ______Kees Otten dies Glimpses of the Montréal International Recorder Festival A coincidence of dates made it possible The reception and for the ARS Board’s fall meeting to be award ceremony had been held in Montréal, QC, during the set in the lobby of the seventh annual Montréal International Jeunesses Musicales du Recorder Festival, organized by Canada, where Hamon Matthias Maute and Sophie Larivière. played in the intimate As the ARS Board and support staff arrived recital hall that evening. on September 11, others were hearing a For his program, “Hypnos brief concert by young recorderists Linea,” the stage was lit Vincent Lauzer, Rebecca Molinari, with a floor lamp, and a Laura Osterlund and Alexa contemplative mood was Raine–Wright—all bilingually described evoked as Hamon entered in the festival program as students of from the rear playing a Maute at McGill University. (The names of Native American song on a the last three may also be familiar to ARS traditional Indian flute. members who have read of scholarships The program included earned and performances given in venues Hypnos linea V (2007) by such as the Berkeley Festival.) Phillipe Schoeller, one of ARS Administrative Director Kathy Sherrick (l) was happy The evening of September 11 also held only a handful of pieces on to meet Daniel Koschitzki and Andrea Ritter at the reception a lecture on Medieval instrumental music, the “poetic voyage” led by before the composition contest award ceremony in Montréal. delivered by Pierre Hamon of France. Hamon that could be Letitia Berlin left the day-long ARS attributed to a specific composer. The Koschitzki and Andrea Ritter. The after- Board meeting on September 12 to lead repertoire was from a wide range of eras, noon held an exhibition of instruments the next Festival event, a late-afternoon yet sounded related: selections of both made by Jean-Luc Boudreau, and a master class, after which both Board and American Indian and east Indian origin, a Medieval music workshop conducted by locals gathered for a short reception. This pipe and tabor offering from Las Huelgas Hamon. Berlin’s late-afternoon session, culminated in the award ceremony for Codex of the 13th century, 14th-century “Recorder for all,” allowed participants to the composition competition sponsored works including a ballata by Johannes perform what they had learned (in a mere by the ARS in collaboration with the Ciconia—all mixed with works by living hour!) as a prelude to the evening concert Amsterdam Loeki Stardust Quartet composers, and all played with energy in Redpath Hall. (ALSQ). Two winners in that contest were and drama (and rarely a music stand). Recorderists Maute and Larivière, as present in Montréal and thus able to be One moment in the evening when the musical directors of Ensemble Caprice, honored in person—a good reason to take audience seemed to be barely breathing were joined that evening by eight other advantage of the overlapping dates of the was at the first of three contrasting pieces: talented musicians in a “Baroque Tango” ARS Board meeting (only the second held an istanpitta from 14th-century Italy, program. Introducing the program, which in Canada in recent years) and the Festival. followed by Schoeller’s Hypnos linea, juxtaposed Stefano Intrieri’s arrange- ALSQ member Karel van Steenhoven which ended with a tenor recorder flour- ments of concertos by Vivaldi with had sent some “personal words” on ish before the wake-up call of startlingly- Maute’s arrangements of tangos by Astor behalf of ALSQ and judge Peter–Jan shrill tenor recorder pitches and multi- Piazzolla, Maute suggested that the Wagemans, to be read during the award phonics of Makoto Shinohara’s Fragmente audience think of the two composers ceremony. Besides congratulating the (1968). The audience clapped through sharing some good wine. winners—Maute, William Ashworth two bows—as, at the end of the printed and Glen Shannon, his message program, it demanded two encores, one expressed the “hope that the winning of which allowed close observation of composition RUSH will also function as Hamon’s circular breathing. Audience an example and show many other young members crowded around Hamon after musicians and composers the great the performance, asking questions. possibilities of the recorder quartet....” A busy full-day schedule started at Outgoing ARS President Letitia 9:30 a.m. on September 13 with chamber Berlin gave certificates to first-place win- music workshop sessions in McGill class- ner Maute and Shannon, the third-place rooms led by Hamon, Berlin, Gilles winner. (Ashworth was unable to attend.) Plante (right), Mark Davenport, Daniel
8 American Recorder Glen Shannon (l) and Matthias Maute (r) flank Letitia Berlin, after Pierre Hamon’s concert. At right, audience members were curious about Hamon’s instruments.
Program notes pointed out one simi- Ritter brought to the recital the con- recorder, but playing piano and singing. larity in the seemingly-unrelated pieces fidence, skill and flair of someone with His sensitive piano never overpowered being explored: that of the stylized tango, incredible accomplishments—winning Ritter’s recorder in the first piece, which as written by Piazzolla, being akin to the prestigious recorder competitions at started dramatically off-stage with bird intellectual dance forms of the Baroque— Utrecht in 1998 and Montréal in 2007— sounds that became a charming piece, neither being composed for actual danc- yet, in age, she is barely out of her 20s! written this year by the duo. His singing on ing. The chaconne, as manifested in the Her use of all recorder sizes, as well as several numbers was spell-binding. Baroque, was also compared to a more tenor and alto sizes of a modern wind The recital continued with the mostly- modern, yet similar, harmonic sequence. instrument like a recorder, brought variety contemporary music; only a few pieces Still another similarity exists in the oppor- to the program. played were written in earlier periods—by tunities for improvisation, then and now. Koschitzki’s impressive record of Caroso (c.1525-c.1605) and Saint–Saëns At times the performers were config- awards and experience (including (1835-1921). It was impressive that the ured as a “traditional” Baroque ensemble winning the Moeck Solo Recorder Playing modern techniques used in playing really of soloists with continuo; for the Piazzolla Competition in London, plus playing in enhanced the affect of the music and pieces, the group assumed the shape of a London’s Wigmore Hall) would be cov- did not seem to be merely for the self- jazz combo, supplementing early instru- eted by any performer twice his age. He indulgence of the performer. ments with stand-up bass and drum showed his versatility in playing not only It was a sparkling end for the Festival. set. Ensemble members moved adoitly between the two mindsets, at times phys- ically changing location on the stage. In one music set, the tango Resurrecion del angel (Maute on soprano recorder brightly contrasting with Larivière’s mel- low Baroque flute and the fine cornetto playing of Matthew Jennejohn, plus the ensemble) moved into the familiar autumn concerto from The Seasons (here Maute taking a brief break, while Larivière played alto recorder and Jennejohn the oboe da caccia, adding the solo color of Mathieu Lussier on Baroque bassoon). Ending the set was “Otoño Porteño” of Les saisons à Buenos Aires—autumn of Piazzola’s own “Four Seasons.” The Festival’s last day, September 14, comprised a master class by Hamon plus an afternoon concert by Koschitzki and Ritter, both of Germany. Former students of Karel van Steenhoven, they also both played with ALSQ until 2007. Some ARS Board members were able to stay for their recital, entitled “Bird’s Paradise”—a fitting conclusion to a first- rate Festival celebrating the recorder through the ages. Having started with a recital given by those of a younger age, the Festival came full circle to Ritter and Koschitzki, who play as the duo Spark.
November 2008 9 Several Views of Concerts by Matthias Maute and Ensemble Caprice
Musicians have been itinerant for cen- According to Maute, Johann Heinrich followed was a perfect match. In La turies. They have borrowed from what Schmelzer (1623-1680) and his Viennese Pastorella, Ensemble Caprice and they have heard on the road, and some- contemporaries were probably very Schmelzer transported the audience to a times have influenced a fellow musician or familiar with Gypsy musical traditions countryside scene, with sounds of two along the way. Even the rise of pass- because of the nearby Balkan Gypsies. La murmuring brooks, birds and a variety of port use in the 19th century did not ham- bella zingara, his balletto intended for the dances. per musicians’ travels. Emperor’s court, uses exotic melodies The first half of the program ended As part of the Boston Early Music and irregular meters to vividly depict a with four selections from a collection Festival Concert Series, Matthias Maute beautiful Gypsy girl and to recreate the of Gypsy music from 1730, Uhrovska and Ensemble Caprice explored musical sounds of Gypsy musicians. Ensemble zbierka. According to the program, the borrowings, specifically Gypsy music in Caprice’s rendering of the balletto was Uhrovska collection is named after the the Renaissance and Baroque periods, in stunning. The group’s energy and town in Slovakia where it was found, and their program “La Follia and the Gypsies” precision brought to life the juxtaposition was probably compiled by an itinerant last April 25. The Gypsy musical tradition of the court and the Gypsies . musician. Most of the music appears as is a perfect example of the confluence of The next set began with Andrea only a single line; other parts would have folk melodies and traveling musicians. Falconieri’s La Suave Melodia. The dark been improvised. Ensemble Caprice’s With the audience just settled in their realization of these melodies—from seats at First Church, Congregational, Percussion ... was a very frenetic to tender—was nothing less Cambridge, MA, Baroque guitarist David than magical and spellbinding. Jacques entered from stage right to begin novel and effective Telemann got his turn with the Gypsies a set of four recercadas by Diego Ortiz. addition to a after the intermission. He was very This was a delightful introduction to aware of the musical world around him; Jacques’s delicate artistry that would re- Vivaldi trio sonata. he also spent some time in Poland, and main one of the highlights of the evening. we know that he was familiar with Gypsy As the set progressed, Maute entered and sumptuous sound of Maute on bass music. Caprice’s rendition of Telemann’s from the right to transform the Ortiz solo recorder, accompanied by Napper and Polonaises not only gave the audience a into a virtuosic duet. Without warning, Jacques, was extremely gratifying. taste of 18th-century Poland, but a hint of Susie Napper ran on stage, in order to be The set continued with My Lady Gypsy flavor as well. united with her ’cello and to join in the Carey’s Dompe, and Falconieri’s setting Vivaldi’s Trio Sonata, Op. 1, No. 12, a music-making. As Napper and Jacques of “La Follia.” Although the whole set was set of “La Follia” variations, is always an played the well-known Recercada sopra skillfully and sensitively performed, it audience favorite. Maute’s and Larivière’s Doulce memoire, Sophie Larivière made a was difficult to connect it to the rest of recorder playing was brilliant. It is dramatic entrance with a recorder and a the program. It reflected a folksong-based unfortunate that it was difficult to hear rose in hand. She joined the other musi- improvisational style like Gypsy music, Larivière during the Vivaldi, as was the cians after placing the rose in a vase on but lacked any obvious connection to case through much of the performance. stage. Soon after, percussionist Ziya the Gypsy theme. Her tone quality is rich, and her playing Tabassian entered, and the full ensemble On the other hand, the second precise; it is a pity she could not be heard closed the set with the Recercada primera. Schmelzer balletto that immediately more clearly. Percussion played by Tabass- ian was a very novel and effective addition to a Vivaldi trio sonata. The concert concluded with Balletti di Venezia, an 18th- century suite with obvious folk music influences, and four more selections from Uhrovska zbierka. As usual, Ensemble Caprice offered listeners a dazzling conceptual musical tour. Hearing Maute, Larivière and Napper play is always an exquisite joy. The addition of Jacques’s sensitive guitar playing, and Tabassian’s electrifying percussion truly made the Caprice after “La Follia and the Gypsies): (l to r) David Jacques, Susie Napper, Gypsy connection come alive. Matthias Maute, Sophie Larivière and Ziya Tabassian. (Photo: Melvyn Pond) Alan Karass
10 American Recorder On July 27, I was fortunate to be able to Helyard gave a Toronto photo artist Jane Hinton (
November 2008 11 Recorder Orchestras The Manhattan Recorder Orchestra I also heard a Baroque program, (MRO), of which I am a member, gave a presented June 14 at the Morris–Jumel perform in New York concert on April 17 to a full house at Holy Mansion. Located in upper Manhattan, Apostles Church in Manhattan. Matthias Morris–Jumel is a handsome bit of 18th- Maute conducted a program covering a century New York City. The concerts are The Recorder Orchestra of New York wide range of styles. MRO played works held in an intimate octagon-shaped finished its 2007-’08 season in May from the 16th and 17th centuries by room with very beautiful period wallpa- with the program “Motets to Mystery,” Byrd, Handl and Hakenberger. Daphna per of flowers and exotic birds. The very presented at the Presbyterian Church Mor gave an enchanting solo perform- current musicians are: Gregory Bynum, of Mattiuck, NY, on the eastern ance of Van Eyck’s Engels Nachtegaeltje. recorder; Theresa Salomon, Baroque tip of Long Island. Under music director From the 18th century, the orchestra had violin; Carlene Stober, viola da gamba; Deborah Booth, the ensemble offered an exhilarating workout with the Bach/ and Rebecca Pechefsky, harpsichord. motets by Lassus and Victoria, and a Vivaldi Concerto in A Minor, BWV593. In Their program was bookended by triple-choir 15-part work by Leonhard contrast to the abstract gestures of two well-known trio sonatas for this Lechner—Laudate Dominum a 15, Bach/Vivaldi, there was the programmatic instrumental combination: G.F. Handel's arranged by Eric Haas. For this the tone painting of La Musica Nottura di Trio Sonata in F, and G.P. Telemann's Trio choirs were separately positioned around Madrid by Luigi Boccherini. Sonata in A Minor. In between, each the front of the sanctuary. MRO is fortunate to have several com- player had a chance to perform a piece Following Andrew Charlton’s arrange- posers in its ranks; the program featured from the solo repertory: Violin Sonata, ments of J.S. Bach’s “Sinfonia” from three of their works. Conductor Maute Op. 5, No.5 by A. Corelli; Suite d'un gaût Cantata 169 and “Prelude” from Partita contributed Les Fleurs Dissipées, a new etranger for gamba by M. Marais; III, the program concluded with Dennis three-movement recorder orchestra work. and sonatas for harpsichord, K208 and Bloodworth’s arrangement of George But- A well-known concert organist, composer K209, by Domenico Scarlatti. terworth’s The Banks of Green Willow and and recorder player, David Hurd gave Bynum played the Sonata in D Minor Guus Haverkate’s Sound Crime. As the the audience an example of music for for alto recorder and continuo by Anne orchestra set up for Sound Crime, the another kind of pipe, performing his Danican Philidor, to which he brought a audience was temporarily atwitter as a virtuoso Toccata for Organ (1991). nice feeling for French style. But what mysterious figure in a trench coat donned Last season MRO played Disjunctifica- most impressed me about Bynum's a fedora and worked his way up the aisle, tion, a one-movement piece by orchestra recorder playing in general was the warm peering into faces, finally to preside over member Charles Gamble. This year sound and full volume of his low register. posters that announced each “scene” or Gamble added two new movements to There was no feeling of the volume falling movement in the music. The audience make the satisfying three-movement Suite away, which so often happens in the low was completely engaged by Haverkate’s for Recorder Orchestra—a delight to play. register. Instead, the entire range of his witty use of musical “clichés.” Our thanks (This is a fine work that should achieve playing was in excellent balance. go to recorder virtuoso Rachel Begley wide circulation. Readers interested in This was quite an enjoyable concert, who introduced this work to the U.S. a obtaining the Suite can contact Gamble and I look forward to hearing these few years ago. at
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12 American Recorder Bits & Pieces
Passing Notes: Americans Ervin Henning and Roslyn Kees Otten (1924-2008) Brogue, the first composers to write Kees Otten died September 25 at age 83 in 12-tone pieces for recorder (respectively Amsterdam, The Netherlands. Called the in 1951 and 1955); and Argentinian “grandfather of the recorder” and consid- composer Esteban Eitler, who wrote for ered a pioneer in reintroducing the solo soprano recorder. recorder as a serious instrument, he was Otten’s programs included both the the first to teach it at the conservatory recorder’s early literature and its modern level in the Netherlands, where his repertoire. He frequently chose works students included Frans Brüggen and from among the many dedicated to him— Milestones Kenneth Wollitz. and especially played neglected ones writ- The Harmonia Baroque Players have His Syntagma Musicum ensemble ten between the two World Wars. As a announced their 2008–09 season, which toured the U.S., Australia and New composer himself, he started Heuweke- celebrates a quarter-century of performing Zealand, Japan and almost all European meijer’s Nieuwe Blokfluitmuziek series. music of the Renaissance and Baroque countries, playing music from the Middle When blues singer Big Bill Broonzy periods. Each three-concert series will be Ages through the early Baroque, and was in Amsterdam in the late 1940s, presented in three locations: Rancho recording a dozen LPs. Among its mem- Otten was invited to play recorder with Palos Verdes, South Pasadena and Irvine, bers were recorderists such as Kees Boeke. him in public jam sessions. About the CA, the last where the group is in resi- His father was secretary to The Lord same time, he appeared with the young dence at Concordia University. Mayor of Amsterdam, and later secretary lutenist Julian Bream, playing music from Baroque music for the heart and soul to the Governor of Amsterdam University. five centuries earlier. Over the years, he by Handel, Schickhardt, Telemann and His mother taught piano at the Amster- played with many other artists, including Vivaldi is the theme of “Tune thy music to dam Muzieklyceum for 50 years. It was recorderists Carl Dolmetsch, Brüggen and thy Heart,” offered November 2, 9 and 23. an uncle—active in school music in the Edgar Hunt, and Dutch harpsichordists Vocal ensemble Aviarium combines 1920s-’30s, and a friend of Hindemith, Gustav Leonhardt and Jaap Spigt. with the group for “Echoes of the Age of Milhaud and Poulenc—who introduced While he performed with various Luther,” February 8, 15 and 22. Guest young Otten to the recorder. ensembles during his career, Otten’s soprano Maurita Phillips-Thornburgh Jazz awakened his love of music, name is most associated with Syntagma joins them for “We are 25! Celebrate with particularly after hearing a concert by Musicum, which he formed in 1963. Us!” on April 19 and 26, and May 3. Duke Ellington. One of Otten’s boyhood Although the group’s personnel changed The Harmonia Baroque Players are memories was playing the recorder with over the years, its six musicians—two (shown in photo by Dodson Photography, the great jazz artist Coleman Hawkins. vocalists plus others playing wind, percus- Yorba Linda, CA): at back, l to r, Marika His family was not enthusiastic about sion, string and keyboard instruments— Frankl, recorders; Sandra Fryling, harp- jazz, so Otten finally agreed to study brought to pre-Baroque music the same sichord, viol, voice; middle, Devin clarinet at the Amsterdam Muzieklyceum. freshness and high standards that others Fryling, viola da gamba, Baroque ’cello; World War II and the years following like Brüggen brought to Baroque music. Richard Glenn, lutes, guitars, viols; saw him perform for the Allied troops. The group gave its last performances in and front, Mari Haig, Baroque violin. Near the end of 1945, he was invited to 1984, after which the 60-year-old Otten (Not pictured is Baroque oboist Alison tour the Balkans, Spain and North Africa dissolved the ensemble. He continued Lowell, a guest artist with the ensemble with a top jazz ensemble—but, at the playing as a soloist and with his wife in addition to the above vocalists.) same time, he was also invited by harpsi- Marina. His two recordings on For information, e-mail Frankl chordist and Bach scholar Hans Brandts CD came out in 1998: a two-CD at
November 2008 13 FOCUS ON ARS BUSINESS MEMBERS
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AOSA fosters the utilization of the Orff LAZAR’S EARLY MUSIC Fax: 800-576-7608 or 817-277-9933 Schulwerk approach through a vibrant professional Bill Lazar [email protected]; development program that sponsors hundreds of 292 Gibraltar Dr., Suite 108 www.sweetpipes.com workshops in 96 local AOSA chapters across the Sunnyvale, CA 94089 Our goal and pledge is to present only the best United States each year and through more than 866/511-2981 (tollfree inside U.S.) or quality recorders, finest recorder publications for 60 certified Teacher Training programs across the 408/734-4920; Fax: 408/705-1960 making music, and the fastest and most caring country. [email protected]; service available in the industry. We continue on in www.LazarsEarlyMusic.com the same tradition established by Gerry and Sonya BOULDER EARLY MUSIC SHOP We sell Moeck, Mollenhauer, Küng, Yamaha, Burakoff, our founders. Publishers of recorder Carol Deihl Paetzold Square bass, Dolmetsch, Ehlert handmade materials for students, teachers, and performers; PO Box 900, Ouray, CO 81427 and Boudreau’s Aesthé recorders; Moeck early method books, solos, ensembles, editions of early 800-499-1301; 970-325-4154; winds; Cíp gemshorns; optimized crumhorns, music, miscellaneous recorder items, and Aulos Fax: 970-325-418 Wendy Gillespie (Lu-Mi) Chinese viols and bows; and Yamaha quality plastic recorders. [email protected]; www.bems.com Chris English and Louis Bégin viol bows; Puchalski BEMS specializes in Medieval, Renaissance, and vielles; music and accessories. Keys added, necks TOYAMA MUSICAL INSTRUMENT CO., LTD. Baroque sheet music, facsimiles, instruments, bent (painless). Personal service and advice. Instru- Takamura Toyama accessories, and gifts for all levels from beginning ments gladly sent on approval. Very competitive 41, Oharacho, Itabashi-ku, Tokyo 174, JAPAN student through professional. Order on our secure prices. 81-3-3960-8305 website or by phone. We ship worldwide. Visit our [email protected] shop in the spectacular mountains of Ouray, CO. MAGNAMUSIC DISTRIBUTORS, INC. Toyama manufactures recorders under the Aulos Madeline Hunter brand, along with a broad line of elementary CLARION ASSOCIATES, INC. 74 Amenia Union Rd., Sharon, CT 06069 musical instruments. (U.S. agent: Rhythm Band Greg Vergith 888/665-2721; Fax: 860/364-5168 Instruments, Inc.) 35 Arkay Dr., Suite 400, Hauppage, NY 11788 [email protected]; 800/VIV-ALDI; Fax: 631/435-4501 www.magnamusic.com VON HUENE WORKSHOP/ [email protected]; www.clarionins.com. Importer/distributor of recorders, historical wood- EARLY MUSIC SHOP OF NEW ENGLAND The largest insurance firm dedicated solely to the wind instruments, shakuhachi. Magnamusic holds Nikolaus von Huene needs of musicians. 45% off for all ARS members. one of the largest inventories of early and contem- 65 Boylston St., Brookline, MA 02445-7694 porary sheet music available in the USA & Canada. 617-277-8690; Fax: 617-277-7217 COURTLY MUSIC UNLIMITED, INC. Free catalogs. Prompt, friendly service. 10% [email protected]; Richard and Elaine Henzler Discount on purchases made by ARS Members. www.vonHuene.com 3785 Main Street, Warrensburg, NY 12885-1665 The Von Huene Workshop, Inc., founded in 1960 800/274-2443; 518/623-2867; MOECK MUSIKINSTRUMENTE by Friedrich and Ingeborg von Huene, makes, sells, Fax: 518/623-2869 UND VERLAG E.K. and repairs fine Renaissance and Baroque historical [email protected]; Sabine Haase-Moeck woodwinds. Its affiliate, The Early Music Shop of www.courtlymusicunlimited.com Lückenweg 4, D-29227 Celle, GERMANY New England, is a retail store and mail-order Everything for the recorder enthusiast! Call us toll 49-05141-88530; Fax: 49-05141-885342 division of the Von Huene Workshop that sells free for Expert advice on selecting a recorder and [email protected]; www.moeck.com recorders, flutes, reed instruments, early keyboards, music for your particular needs. Instruments are Family-owned enterprise in the third generation sheet music, and related items. We are happy to sent on approval (call for details). We not only producing recorders and publishing recorder send instruments on approval for those players who check-out each instrument but offer free refinement music, books on music and Tibia. Magazine for wish to compare before making a commitment. of tuning on wooden recorders valued over $85.00. Woodwind Players. 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14 American Recorder News from the Recorder Music Center
Greetings from the Recorder Music Center includes original manuscripts and a small at Regis University in Denver, CO! collection of personal correspondence, The Recorder Music Center (RMC) has finally made its way to the RMC in August. awarded its first “Special Projects Grant” Archival material is available through to Megan Quilliam, a sophomore at “Special Archives” at Regis’s Dayton Regis University pursuing the Bachelor of Memorial Library. Arts in Music History and Literature— Thanks to the generosity of recorder an award that is possible due to a generous enthusiasts and collectors, we continue to donation from an ARS member. Quilliam receive donations of music, books and in- conducted work in July and August 2008 struments. This year the RMC received a in the RMC office, where she helped set of three Christopher Monk cornettos, coordinate the preparation of donated a small Whittmayer harpsichord and a music collections for eventual cataloguing large Zuckermann Concert harpsichord. and binding (see photo at right of Megan Students in the Collegium Musicum are Quilliam and Mark Davenport). In particu- taking full advantage of the opportunity to lar, she worked with the recorder music practice and perform on instruments from collection recently donated from the the Center’s collection. Greater Denver ARS Chapter and with Thanks also to the support from the the Rafe Ronkin estate. Her work has wonderful staff at Dayton Library: Janet helped to facilitate the process of making Lee, Brian Hasenstab, Nuala Pfeiffer and these collections available to the public, their assistants and student workers. They for members of the recorder world, and for insure that the donated collections of future research activities at the Center. She recorder music continue to be catalogued, received volunteer support from Janet bound, and placed in the RMC alcove in Handmaker and Dick Munz of the Denver the library, where they can be checked out Chapter. in person or through interlibrary loan. Quilliam was born in South Africa and ARS members are invited to explore relocated to Denver in 2001. She graduat- the Center’s holdings. On the RMC web ed from Douglas County High School in site,
Do you have recorder music, recordings or instruments that you would consider donating to the Recorder Music Center?
For information about donating material or about the Recorder Music Center, please contact Dr. Mark Davenport, Director, RMC, at: Regis University (Mail Code C-4), Department of Fine & Performing Arts 3333 Regis Boulevard, Denver, CO 80221-1099 E-mail:
November 2008 15 ______Q & A ______Determining how much classroom noise is too much, ______and removing wax
uestion: I teach music in a public this reference can be accessed at Q elementary school. I have two third- For one whole workday,
16 American Recorder However, that does not mean that you tional playing, rhythm-clapping, note- are entirely out of danger. If you are a full- name singing, and verbal discussion. (For time music teacher, your recorder teaching further information, see
November 2008 17 Using Repertoire to Learn to Play Alto “an Octave Up” By Anthony Rowland–Jones owadays—it hasn’t always been so— player wishing to enjoy this great Nmost music published for the repertoire must learn to read an octave alto recorder places its lowest note, up—I will use that misleading terminolo- bottom F, in the lowest space of a music gy, or “alto8.” staff with a treble (G) clef. Putting aside For young people, who are more versa- the complication that recorders, espe- tile than many of their elders, and for cially bass in F and below, seem to sound recorder players who have trained as an octave lower than their acoustic pitch, singers and who therefore read music by this F matches the piano’s F above its pre-hearing intervals, this transition middle C, which is similarly notated. should be no great problem. But for other The alto voice, however, is notated recorder enthusiasts—many of whom with the singer’s middle F in this position. nevertheless want to enjoy the glories No alto singer, nor any instrumentalist of Renaissance consort music—a covering the same compass, would conductor’s request to play alto an octave tolerate the horizontal forest of ledger- up still too frequently produces, “Sorry, lines above the staff, which alto recorder I can’t.” If they cannot be induced to try, players sometimes have to cope with. or to play tenor instead, they must sit and Soprano recorder players would be even just listen—a very unsatisfactory situa- worse off if their music had not been tion in a recorder group. notated an octave below pitch and the I believe that, even for a non-singer, clef marked with a small “8.” there is a way of learning to play alto Seen at a glance in score, therefore, an octave up that should not take long, soprano players appear to be reading provided that you choose a period of a few lower notes than the altos, as if they were weeks when your recorder group is not tenors. In mid-20th-century German meeting and when you can be sure of publications for recorders, altos were finding plenty of time—and a suitable often written at pitch, but the editors were location!—to practice. nevertheless prepared to accept the First, if you also play a C instrument, anomaly that tenor recorder players ex- you should put it away and only practice pected to read a treble clef, rather than alto. During the transition process, never read C clef as a viola or viol player would. play alto recorder at pitch. Only play alto So “eye-music” in SATB recorder scores an octave up. was still not achieved, as the tenors For the transition, I advocate using the seemed to be playing higher than the “anchor-note” method. This involves altos. looking at the position on the staff of Although the present compromise has three anchor notes, and fingering them on Although his main career was in university now long been applied in Baroque music, the recorder at the same time. My choice administration, Anthony Rowland–Jones a considerable amount of Renaissance is middle F', the C below, and C' above. has published six books (all still in print) music—often written “for voices or any (Please note that, rather than use the and many articles on recorder technique sort of instrument”—is published at “academic” nomenclature of identifying and the interpretation of its music— pitch. Like their Renaissance counter- these anchor-notes as f', c' and c'', I use even one on a Mozart piece (K.315) parts, present-day publishers want their a method employed in my Recorder to appear in the next issue of music to be accessible to the whole range Technique book, which is one sometimes The Recorder Education Journal. of instrumentalists for whom it is suited. used by music teachers in the U.K. In this His Recorder Technique was first The leading publisher of Renaissance system, the alto’s bottom F is simply F; published by Oxford University Press music that might be played on recorders, the next octave changes at middle F, in 1969, after most of its chapters had London Pro Musica (LPM), does precisely which becomes F'; and the top F is F''. already appeared in the ARS Newsletter, this. This also eliminates confusion about but it has since been greatly expanded, Alto recorder players then need to read whether the note described is a written or with companion volumes, in new editions “an octave up,” or confine themselves sounding note, since this article deals with published by Ruxbury. Rowland–Jones is to specialized recorder publications, reading printed music so that it sounds an a Vice-President of the U.K. thereby missing out on a great deal of octave up. I use these labels to describe Society of Recorder Players, and at the excellent music written in an age when what you see on the printed page.) 2007 Boston Early Music Festival received recorders were prime members of the One works by intervals between the ARS Presidential Special Honor Award. wind-instrument family. Any alto recorder these notes, which should at first be one
18 American Recorder note up or down (conjunct motion), and (LPM IM19, very favorably reviewed by then with two-note intervals (thirds) Frank Cone in the March 2007 AR). Mistakes tend to occur being gradually tried out as your confi- This particular Duo is decidedly at the ends of lines in dence increases. capricious, even skittish, if played up to The test, of course, is when you get speed as a scherzo. It is fun, an intriguing music, where visual back to an anchor-note. Is it correct? If piece of composition—and, above all, not, you should start again, trying to spot real music, not just an exercise. The five continuity is interrupted. where the error was made. If you have a excerpts I have used as exercises for It may therefore be teacher, he or she can provide or compose transition to alto up are at the beginning appropriate exercises—and I’m sure that of the music for the second part, which helpful, just after the many teachers, using the same method, appears in Exercise 1. end of the line, to pencil have done exactly that. Note that this excerpt starts and But it’s not necessary to compose or finishes on the central anchor-note middle in a short extension of the look for an appropriate exercise—and this F', which appears three times in the first staff and write in the first especially may help those who are not able bar. The music then goes up stepwise to to study regularly with a recorder teacher. the second anchor-note C', and then note of the following line. LPM has recently published a two-part down the steps again to F'. piece that happens to provide perfect pro- It should be played slowly enough for interval of a third—the G' to E in the gressive studies for transition from a C to you to be able to complete it without mis- penultimate bar, jumping across the F instrument. It is a Duo for equal voices. takes, counting four steady quarter-notes anchor-note F'. Both the two players need to play alto8, as to the bar. Divide the exercise in two by If you look at the fully-marked first the music in both parts goes down to A taking a breath where I have marked it. page of the score (on page 20 of this issue), on the second ledger-line below middle C. Don’t forget that the first and third notes ' you will see that the half-note F in this In the lower part, however, this doesn’t in the second half are both B . exercise comes at the end of a line. In occur until the second page of the Duo, Now you can speed it up a little— reading an octave up, and also when you very near its end. but not too much, as there is more difficult are in the process of changing between The whole piece has only 75 bars. With music to come. If at any point you become C and F recorders, mistakes tend to occur LPM editor Bernard Thomas’s kind confused, or your fingers begin to feel at the ends of lines in music, where visual permission, it is reproduced at the end of tense, stop practicing and return to the continuity is interrupted. It may therefore this article, with the transition exercises exercise a few hours later or the following be helpful, just after the end of the line, marked in on the first page, but only day. to pencil in a short extension of the phrasing points on the second. Exercise 2 is a continuation from staff and write in the first note of the The music can be found in a publica- Exercise 1. It works its way down from the following line. I have marked eight such tion of two-part pieces by Antonio Troilo upper anchor-note C' to the lower anchor- occasions in the first page. I have also from 1608 called Sinfonie, scherzi, note C, passing the central anchor-note added the note names in some places, but ricercari, capricci, et fantasie, a due voci F' on the way. It also introduces us to an this is not always really necessary.
Exercise 1.
Exercise 2.
November 2008 19 When you have mastered Exercise 2, two notes as a pair to finish the circling from the D', and C' on each side of the low join it on to Exercise 1 and play from the motion on B '. B . In fact, there are seven anchor-notes in start up to the half-note C in bar 8 of In more complicated music, breaking this cadential passage, which descends the score. If you can do this without up extended passagework into short from C' to C via F', so this will help you mistakes, and at an even and steady pulse modules in the same manner helps im- not go wrong. Offer a “thank you” to each with no hesitations, you are making mensely in reading challenging music anchor-note as you pass it. good progress. accurately and phrasing it sensitively. Third, in the second full bar of the When you can play exercise, there is a downward interval of a these nine notes (in four fourth, from C to G'. Taking a breath Exercise 3. bits) without mistakes before G' and giving it a slight stress will at a slow speed, gradu- help you to get over any difficulties this ally try playing them a interval may seem to have. little faster. But it may Fourth, we encounter our first acci- push things a bit too far dental other than the B in the key at this stage to attempt signature. This is the B ' in the first full bar. joining them with the Fortunately, it is between two anchor-note previous two exercises. occurrences of C'. It is the leading tone to Think carefully the tonic C (in solfege, do–ti–do) at a before you embark cadence that precedes Troilo’s second on Exercise 4 (which subject, announced in the top part. Think continues from of that semitone flattening as taking Exercise 3 continues from Exercise 2, Exercise 3). To begin with, it is longer place by leaving a fingerhole (4) open but the division of the measure into eighth than the previous exercises, so it is more and putting finger 5 down below it, the notes suggests that, to start with, it should demanding to get through it without simplest of recorder cross-fingerings. be tackled at a slower quarter-note count. errors or hesitations. If you play a wrong Finally, a surprise: in the third full bar Look at it carefully before you play it. note, don’t try to correct it—instead, of the piece, Troilo indulges in a passing Note how it revolves around and finishes if you can do this without disturbing the incursion into a minor key (C minor), on B '; the anchor-note C' is here less onward tread of the pulse you have although the whole piece is very much in important, although it is the highest note created, ignore the error and keep going the happy major key of F. It is the only in the group. to the end. If you pause to correct yourself time this happens on the first page of the In this short excerpt there are two and break the pulse, don’t continue, but Duo, although there are two similar intervals of a third—but do not think of start again from the beginning. episodes on the second page. them as leaps. In your mind, isolate the Second, the range of this exercise goes The fingering for this E is of course the first note, C'—the anchor-note that makes one tone (or step) above and one below same as what you have used before in a secure starting point—then think of the the range of nine notes encompassed by playing alto “normally” for the E in the next two notes as rising stepwise. After the upper and lower anchor-notes C top space of the staff. Before you start the short drop to G', imagine the following and C'. These new notes are high D' and, on Exercise 4, ensure you have the finger- four eighth-notes, that go back up to the in the penultimate bar, low B . ing right for this E and that the sound is a anchor-note C', as making up another Both of them, however, have an whole tone below that of the anchor-note conjunct upward series, leaving the last anchor-note immediately before and after F' preceding it. the new note—C' going up to and back Steady counting in quarter notes
Exercise 4.
20 American Recorder Exercise 5.
should result in the tied anchor-note F' At bar 19, a new subject—a very jolly and the tied D at the end of the third bar one—appears in the upper part; this sets (which conveniently links a line-end) the second part scurrying off in eighth being played strictly on the pulse. Think notes. Generally these come in groups of of the progression down from G' to C in four, each starting on an upbeat. the second half of this exercise (i.e., after In bar 18, the fourth bar of Exercise 5, the breath mark) as being a steadily the first eighth note completes a sectional moving downhill procession of half-notes. cadence on the tonic anchor-note F', the This is how the composer would have end of a phrase. Then a group of four notes thought of them. go up from E to A' stepwise. A second Exercise 5 is the same length as group of four notes consists of two pairs of Exercise 4, but it has more than twice the descending conjunct notes with a rising number of notes—most of them being third between, and a third group repeats eighth notes. It is well supplied this pattern sequentially a tone lower, with anchor-notes, however: a C', eight ending on anchor-note F'. A fourth and instances of F', and a final C. last group of four notes takes us down But there are six places where the to the dominant anchor-note C—to music moves in disjunct fashion rather complete the phrase and the exercise, than stepwise; one of these intervals, at in the process employing intervals of the end, is a fifth, and three are fourths. a rising fourth and a falling fifth. You will need to see exactly what is in This will test your reading ability and Exercise 5 before starting to play it. fingering skills. If you can manage it com- Don’t try it until you are ready to face the fortably, you are nearly ready to continue challenge. to the bottom of the first page of the score, A bit of analysis will help, for which and then onwards to the end of this you will need to look at the score. In the Duo—and to other pieces in the Troilo first two bars, a three-note figure (accent duet book. the first eighth note) is repeated four Before doing so, there is another times, each figure starting on a series challenge. You will remember that you of notes that go down diatonically A', played the tricky Exercise 3 slowly to G', anchor-note F' and E. This is Troilo’s cope with its flurry of eighth notes—but second subject, already announced (with you can’t leave it like that. Now that you five three-note modules) by the upper have had more eighth-note experience part in bars 11–14. in Exercise 5, work up the speed of Exer- This type of sequential composition— cise 3 until it is at the same quarter-note i.e., reiterating subjects or modules at beat as Exercises 1 and 2. Aim at playing at different pitches—was frequently used by a speed at which you can get to bar 20 in early-17th-century composers, and it the score without mistakes—but not so underlies the structure of the rest of this fast that you feel tense. Duo.
November 2008 21 When you play this piece in a relaxed between them—but the shape of bar 23, process, the first note of each group of manner, you will begin to sense that the with two consecutive rising thirds, is new. four goes down stepwise from anchor- count is really in half notes, and even that Bar 25 has an octave leap. What hap- note C' in bar 32 to D in bar 38. In the last has an underlying one-in-a-bar pulse. pens at bar 26, where there appear to be bar of this page, the upper part retaliates A quarter-note count is only adopted two notes sounding in the same beat? The by introducing a staid new subject in because we are using the music as an exer- upper one is only an editorial addition to modules of four quarter notes (which you cise. To be most effective, this Duo needs keep the lower part within the range of never get to play), thereby forcing you to jog along at about =112, which a tenor recorder if no other instrument is back on to another eighth-note sequential requires some pretty nimble eighth-note available, even though it negates Troilo’s run. playing. request for “two equal voices.” You are If you have a teacher—or even a friend playing alto up, so you should ignore the Leaps of tenths do not who can play alto up and is willing to help small note and play the lower one, B . you—try playing bars 1–20 with another You then have to negotiate an interval person on the upper part. You may be put of a tenth, a rarity in Renaissance music. come easily on recorders; off by this at first, and you may even need Leaps of tenths do not come easily on to use a metronome in order to keep recorders; so, reading up an octave, this so, reading up an octave, together, but it is both very rewarding is something of a baptism of fire. Mark in and the best possible exercise. It turns the the notes—B and high D'—and take a this is something of a Duo into real music. short breath between them—but not a Have a good look at the rest of the first long breath as this is not a full phrasing baptism of fire. page before attempting to play it. You may point. also wish to look at some of the upper part, The phrasing point that concludes When you feel confident about playing but do not try yet to play the whole the run of eighth notes comes after the the whole first page up to this point, with- upper part in this Duo. At bars 41–43, first F' anchor-note at bar 28, but the more out making mistakes, again ask your the upper part goes up to E ', top F'', E ' important sectional phrase point is after teacher or helpful friend to play the upper and finally third-octave G''. Learning the C anchor-note in bar 31. It is con- part with you. those notes will come later. solidated by a rest at the beginning of Now it is time to look at the second Bars 20-28 of the lower part look like the following bar; rests often indicate the page. Except for the occasional E ' and a a string of eighth notes. The first thing to entry of a new subject, as is the case here. tricky rhythm just before the end that do to get them to make sense is to cut Troilo’s delightfully off-beat subject, in also introduces you abruptly to bottom A, them up into phrase groups, and then two modules of four notes each, has there are no particular difficulties in the into modules within those phrase groups. already been announced by the upper second half for a player who can get Generally such four-note modules start part at bar 18—where it is fully worked through the first page without mishap. off the beat, not on a downbeat. out in four sequential re-statements of If the pair of 16th notes in bar 71 defeat Then look for technical problems— eight quarter notes, while the lower part you, turn the dotted quarter note into a although, in fact, nearly all the eighth runs along in eighths. It is now the top half-note D, followed by a quarter-note C. notes are in conjunct motion, interspersed part’s turn to be inundated with eighth To continue your “Gradus ad Parnas- with intervals of thirds. We have already notes, while you joke at him by playing sum” with Troilo, you will need to buy met the pattern in bar 21—pairs of only the first half—four notes—of that the LPM IM19 book of 21 duets. (The descending notes with a rising third subject, seven times sequentially. In this American agent for LPM is Magnamusic Distributors, whose ad appears on the back cover of this issue; at $11.50, it is Provincetown Bookshop Editions very good value for such a wealth of music, despite some occasional, rather obvious, misprints. You may also locate these “GO FOR NEO-BAROQUE!” duos through another merchant.) The pieces are for various combina- Andrew Charlton: Partita Piccola. For 4 Recorders (SATB) tions of recorders with alto-up parts in [Prelude; Allemande; Courante; Musette— 11 of them. Nos. 2, 5–8 and 21 are for a neo-baroque epitome!] (Score & Parts, PBE-25) ...... $7.95 alto up and tenor, so you would play the upper part— and it may be easier to find a Andrew Charlton: Suite Moderne. For 3 Recorders (ATB) fellow duettist who plays tenor recorder. [Baroque shapes but Hindemithian harmony] Thomas has transcribed seven of the (3 Playing-Scores, PBE-44) ...... $9.95 Duos into different keys to make them playable without alto reading an octave Southwest of Baroque. David Goldstein’s “baroque Suite” up. He has adjusted Nos. 2, 4, 5 and 9 to on Cowboy Songs. For 2 Recorders (SA) (PBE-2) ...... $3.50 fit soprano and alto at pitch, so at a later A good source for Recorder & Viol Music of all publishers. stage these lower parts can be used for practice when you get to the point of The Provincetown Bookshop, Inc. switching between alto up and normal 246 Commercial Street, Provincetown, MA 02657 Tel. (508)487-0964 alto.
22 American Recorder After conquering the above, I recom- play nothing but Troilo during the few mend that you start playing the remaining weeks of regular practice required to reach My “guinea-pig” student, Duos in the following order (upper parts a point where you are almost as familiar only): first, Duo Nono (pp. 18–19), with alto up as with alto at pitch. When on whom I first tried out another jolly Scherzo. This has a low A at you first start the transition process, the the Troilo exercises, bar 24, and a high E ' at bar 27. There are Troilo Duo Decimo should be your sole plenty of F', C' and C anchor-notes, but by practice—but after that, try to find some had mastered all five now you may find you don’t need to use simple and familiar tunes arranged for them, except to occasionally mark them in soprano recorder that stay within the within a week, even at difficult passages (such as bars 23–24). C octave and have no accidentals other though at first he Next try Duo Secondo (pp. 4–5)— than B ' and F '. a more serious piece, so play it slowly. It There are plenty of publications had refused even will extend your range one note upwards, containing such pieces. Their weakness is to the instances of high E' in bars 10, 19, that soprano music gives you no practice to make the attempt. 21, 24 and 37; and one note downwards, below the lower anchor-note C, although one bottom G at bar 28. Bars 21 to the first it provides many opportunities to play first tried out the Troilo exercises, had note of 27 require careful practicing, both notes above the upper anchor-note C'. mastered all five within a week, even because of the notes C ', G ' and F ', and Try at first to avoid having to go above though at first he had refused even to the 16th-note decorations. D' or E ' until you become confident in make the attempt. In two weeks, he felt at After this, move on to Duo Primo your octave-up reading. home reading alto up from G to D' with (pp. 2–3). Again play it very steadily. If In fact, you may surprise yourself at a few accidentals. Several weeks later, you start too fast, you will have problems how quickly you become able to play during an ensemble session, I put a at bars 35-43, which are very jumpy. The the alto’s full range an octave up, adding regular alto piece of music in front of him new note in this piece is the bottom G accidentals as you encounter them in your without warning; after the initial shock, (bar 29). The cadences at bars 5–6 and practice. Since the fingerings for alto at he soon found he remembered how to 19–20 require some rapid fingering. pitch and alto up are not that different, read it, and he now plays alto both at Finally, Duo Quarto (pp. 8–9) contains reading an octave up is not as difficult as pitch and an octave up with equal facility. a challenging group of four eighth notes making the transition from C to F He is delighted that a wide new at bar 9; and at bar 31 you will encounter recorders (or vice versa), for which the repertoire of Renaissance music has your first top F''. same “anchor-note method” may be used. become available to him. I hope you will I am not suggesting that you should My “guinea-pig” student, on whom I be too.
... 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
November 2008 23 Anthony Troilo, Sinfonie, scherzi, ricercari, capricci, et fantasie, a due voci (1608) (Used with the permission of London Pro Musica) Duo Decimo: Scherzo et Ricercar
24 American Recorder November 2008 25 OPENING MEASURES ______Where do I stand? ______A Self-Evaluation Tool for Recorder Players
We all need a sense Listen to your sound objectively on 1. Do I like to play the recorder? of progress in our all sizes of recorder. The bass requires 2. How do I sound on soprano? On alto? On tenor? On bass? playing. We all need to different blowing from that needed by the 3. Can I play all four recorder sizes? experience our own soprano. You must experiment and prac- 4. How fast can I play 16th notes with accuracy? musical evolution. tice to acquire good sound on all sizes. 5. How do I sound when playing 16th notes? Human beings are Good tone on any instrument is clear 6. How does my breathing sound? imbued with the need and resonant—not fuzzy, screechy, raspy, 7. How does my breathing feel? (Am I getting enough air? for quest. Without weak, harsh, limp or irritating. Good tone Do I have to expel excess air?) some kind of path to is flexible and round—not stiff, confined, 8. Do I like my breathing choices in music? follow, we languish pointy, thin or trapped. and grow bored. 9. How does my articulation sound? Look at joggers. 3. Can I play all four recorder sizes? 10. How well do my fingers and tongue coordinate? There is a whole That is, are you comfortable with at least 11. Does my playing flow? industry of merchan- the four main sizes? Of course there are Do I feel that my playing is expressive? dise and accessories other, less-common sizes, such as the Does my playing satisfy my expressive need? for runners—training voice flute, that you can save for later. 12. Do I understand music? logs, running calen- Think of learning a new size as a dars, ways to track welcome challenge, heaven-sent to keep ere are 12 questions all recorder progress. You as a recorder player need you from getting bored and switching to Hplayers should ask themselves. to discover your path, follow your quest, viol! Ask—and work to answer, then improve and find your grail! I find that a great many recorder play- on—one of these questions each month To do this you need inspiration. You ers who only play one or two sizes are of the year, and your playing will continue need ideas—and I’m here to give them to actually afraid of learning a new size. They to progress and improve. you. seem to think it will be too hard. But wait I will go over each question, here and a minute: you were intelligent enough and later in a future issue. Read it all, then 2. How do I sound on soprano? persistent enough to learn one size. Why pick your Question of the Month and start On alto? On tenor? On bass? wouldn’t you be able to learn another? exploring your playing. In others words, what is your tone like on It’s a great project for you. It won’t be the various sizes of recorder? nearly as difficult as you think it will, but 1. Do I like to play the recorder? To judge your tone on any size of you will have to practice. What else is Do you enjoy playing your recorder? recorder, just open your ears. Listen to new? Do you feel that you get something out yourself. How do you like what you hear? Playing SATB recorders gives you the of it? Do you look forward to picking up Start by trusting your judgment. opportunity to experience consort music your instrument? Then ask others for their opinions— from all sides. This is much more interest- I often get too busy to practice— your teacher, your recorder-playing ing than always playing only tenor lines— can you believe it? All those other aspects friends, your housemates, even if they or worse, only soprano! of the professional musician’s life— know nothing about recorder playing. I realize that sometimes physical limi- writing columns, planning workshops, If you don’t like some aspect of what tations mean you can’t play larger teaching, writing music, making arrange- you hear, practice tone exercises to recorders, but please do everything you ments, performing, doing business such improve. You can find exercises by can. Nowadays you can get recorders as going to the bank or paying bills, asking your teacher or your playing modified with extra keys and bent necks traveling—get in the way sometimes. friends, or by looking in my book, The to minimize physical discomfort. But when I pick up my instrument, Recorder Player’s Companion. Another It is true that, when learning a new I just feel happy. I begin my touchstone book that addresses the issue of tone recorder size, players often mix up which blowing exercise—the one I’ve done production is Gudrun Heyens and Peter fingering to play in the middle of a piece always—and feel a wonderful sense of Bowman, Advanced Recorder Technique, of music. While this is disconcerting, freedom and tranquility. Volume 2: Breathing and Sound. if you keep practicing the various sizes, Then there is also the pleasure of Also, make sure that you are not this will happen less and less frequently. feeling my breathing muscles expand impeding your air stream as it exits your The easiest way to learn a new recorder and work, and pure enjoyment of mouth. Your teeth may be in front of size is to get a basic method book and sound—and all this just on a “boring” the windway—solve this problem by follow it from beginning to end. This will blowing exercise. Imagine my ecstasy opening your jaw slightly, and/or by lifting give you a good start. Then you can leap when I actually play a piece of music! the bell of the recorder a bit to give a into the fray at your next consort meeting. If you do not enjoy playing, something straight shot from your mouth right into Sure, you’ll make some mistakes, but is wrong; you need to make some changes. the recorder. that’s all part of learning. 26 American Recorder 4. How fast can I play 16th notes with as notes, rhythm and phrasing all at once. accuracy? G. Rooda, Dexterity Exercises and Dances, The easiest way This is really a whole set of questions. is a good source of material, as are How well do you know your finger- hymnals, fiddle tune books, etc. to learn a new recorder ings? How fast can you move your Do all of these things, then pick a pas- fingers? How well do you read music? sage of 16th notes or a short piece with size is to get a basic To know your fingerings well, nothing lots of 16ths. Practice it slowly at first, to beats scales. Bite the bullet and start make sure you are getting all the notes method book and practicing scales. (Come on, you know accurately and well—then play it you should. It’s not so bad.) several times, increasing your metronome follow it from If you hate it, just do it like taking a speed each time. How fast can you go? daily pill that will make you a stronger Go go go! Fleet fingers flying fast! beginning to end. and better player: play one scale each day, slowly and evenly, preferably by heart. 5. How do I sound when playing will hear blps, as I call them—funny little Please don’t practice while watching 16th notes? extra noises caused by fingers lifting or TV. If distracted by TV, you will not truly Be sure to keep blowing with good tone landing at different times. To improve know what you are doing, and thus you when you encounter fast notes. People coordination among fingers, practice your will learn considerably less well. have a tendency to forget all about tone 16th-note passage using different To move your fingers quickly, practice when the page becomes dark with notes. rhythms: an exercise I call Trill Movements (see The But why bother to play at all if you sound long short, long short, long short, etc. Recorder Player’s Companion). Warm your hideous? As my great-grandmother used short long, short long, short long, etc. hands before playing—for example, by to say, “If it’s worth doing, it’s worth doing looong short short short, doing some physical exercise, or by well.” looong short short short, etc. immersing your hands in warm water for To improve your tone, play your pas- This method also works well for several minutes. Warm muscles move sage slowly with a beautiful, clear, free improving coordination between fingers more easily, and if you suffer from and open sound. Play again, somewhat and tongue. (More on this subject under arthritis, warming your hands may make faster, bringing this wonderful sound question 10.) them more limber. along with you. Finally play quickly, while To improve your reading skills, do a lot still focusing on your lovely tone. 6. How does my breathing sound? of sight-reading. Start with easy pieces Be sure that your fingers work well Do you make horrid death rattles as because you need to take in details such together. If your coordination is poor, you you inhale? Do you squeak, hiss, gasp or gurgle? Noise while inhaling during playing is all too often ignored, but it has a detri- Strings & Early Winds mental musical effect—except for rare R moments when you must express some Modern/Baroque Strings Viols Vielle violent emotion in the piece you are Küng Moeck Mollenhauer Paetzold Yamaha Ehlert playing. E Wenner Baroque flutes Breathing noise is created when air must move quickly through a restricted Wendy Ogle Lu-Mi Ifshin Snow passage. You can learn to breathe more C Competitive Prices quietly, and often silently, by striving to Sent on Approval keep your throat open and relaxed. Make Personalized Service & Advice your inhalation efforts from your lower O abdominal and rib muscles rather than from your throat and high lungs. Try to avoid gasping for air. R By practicing a wide range of breathing exercises, you will gain control of your whole breathing mechanism. This too D will help you breathe more quietly. For a relaxed throat, pick a phrase from a beautiful and lyrical piece of music. As E you prepare to begin playing, concentrate on releasing all tension from your head, neck, shoulders, tongue and throat. R Play your phrase, take a slow and low, Lazar’s Early Music open and wide breath, and repeat the (866) 511-2981 [email protected] phrase. See the books I mentioned under S www.LazarsEarlyMusic.com question 2 for more exercises. 292 Gibraltar Dr., #108, Sunnyvale, CA 94089 To be continued …. Frances Blaker
November 2008 27 ______EDUCATION ______Starting adult beginners on alto recorder roup instruction is an excellent ments will yield a deceptively professional the beginning of the text and read the G format for beginning recorder players sounding group. opposite side of each page—the C finger- of any age, but for adults, it has the bene- Upon mastery of the two-octave range ings. The many tasteful arrangements of fit of being a pleasurable social event while of the alto recorder in good recorder keys European folk songs for two and three fostering music-making in an ensemble of D, G, C and F, it makes good sense to recorders give practice in reading on both from the first day. The draw of contribut- expand the flexibility of the ensemble by alto and soprano. With a few more weeks ing to a group effort gives participants introducing C instruments. Some players of transferring technique to tenor and extra incentive to practice outside of class, handle C recorders as a transposition, bass, then sopranino and garklein (small- while playing in an ensemble builds while others prefer to think of a new set of est) instruments, the ensemble is ready to individual confidence. Students also have C fingerings. Regardless, the transition is tackle the final project. A road trip to a lo- the advantage of watching and listening quickly accomplished and immeasurably cal elementary school or adult day center to their peers as all experiment with expands the literature choices. In addition gives the members of the novice ensemble recorder technique. to a wealth of published recorder music, a chance to demonstrate the unique Alto recorder is an ideal beginning an SATB ensemble can read piano scores sound and range of each instrument. instrument from middle school on. With and even four parts from a hymnbook if The full program includes brief per- all the advantages of the soprano the bass clef is not an obstacle. formances in various combinations of recorder’s easy tone production and At Utah State University in Logan, UT, recorders and culminates in a six-voice relatively simple technique, the alto’s undergraduate music therapy majors take major work for recorder consort. Not bad comfortable size and mellow timbre make a one-semester Recorder Technique and for a semester’s work! Naturally, music it a more appealing choice for older Ensemble course that follows this se- majors can accomplish this in a compact students. Because the response of alto quence. Because everyone is a competent timeframe, but if the desire is there, any recorder is more sluggish than that of reader at the outset, the first few class group of older beginners can do the same the soprano, it is easiest to begin with the meetings are devoted to lots of playing with well-sequenced instruction. left-hand fingerings in the E, D, C range. A (without reading) with attention to posi- This article is reprinted with permission drone or simple bordun ostinato on a bass tion, balancing the instrument, and estab- from Reverberations: the newsletter of the recorder (also in the key of F) provides a lishing good woodwind technique. The American Orff-Schulwerk Association. It lovely background for improvisation. text, The Recorder Guide (by Johanna E. first appeared in Vol. 3, No. 2, Fall 2003. Success in playing in the low range of Kulbach and Arthur Nitka; Oak Publica- See
November 2008 29 COMPACT DISC REVIEWS ______Music for the Yule log fire, and with a different sort of fire
NOËLS, LES BORÉADES (FRANCIS speakers. The pieces on this disc will COLPRON, RECORDER AND DIRECTOR; This is a fine recording therefore have a certain familiar quality, HÉLÈNE PLOUFFE, BAROQUE VIOLIN; SUSIE even if you can’t place the exact words NAPPER, VIOLA DA GAMBA; MARIE you’re used to singing. Still, the boister- BOUCHARD, HARPSICHORD AND POSITIVE to lure listeners away ousness is elegantly restrained, and this ORGAN; WITH RAFIK SAMMAN, PERCUSSION, disc is a welcome antidote to much of AND ÉRIC MERCIER, CHABRETTE DU what we hear in shopping malls and on LIMOUSIN [BAGPIPE]). ATMA Classique from holiday schmaltz. commercial radio. I recommend this disc ACD2 2118, 1996; reissued for fans of 18th-century French chamber 2007.
30 American Recorder I hear yet more energy waiting to emerge from the more vernacular ones. These CDs will be among the ones ARS Membership Enrollment and Renewal I am a new member I am or have been a member I happily share with my recorder-playing friends throughout the coming season. U.S./Canadian Memberships Foreign Memberships Tom Bickley $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years FIRE BENEATH MY FINGERS, MUSICA LIFETIME MEMBERSHIP PACIFICA BAROQUE ENSEMBLE (JUDITH Single Dual LINSENBERG, RECORDERS; ELIZABETH Regular Lifetime Member $1,000 (2) $1,500 (4) BLUMENSTOCK, VIOLIN; MICHAEL 4 installments of $250 available) MCCRAW, BASSOON; ET AL). Dorian Loyalty Lifetime Member (1) $ 800 (3) $1,200 (4) DSL-90704, 2008. $20.99 ($15 ARS 4 installments of $200 available (1) For members who have maintained membership for five consecutive years. CD Club). 65:50. (2) $750 is Tax Deductible This is Musica Pacifica’s seventh CD (3) $600 is Tax Deductible (five on the Dorian label plus two on (4) Installments available Virgin Veritas). The group specializes in music of the early 18th century, and thus Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership this CD offers a program of six late- $25 U.S./Canadian One Year $125 One Year Business Membership Baroque works: four by Antonio Vivaldi, $45 U.S./Canadian Two Years one by Giuseppe Tartini, and one by $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name Giuseppe Sammartini. For almost two decades, the success of Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Musica Pacifica’s music-making has been Do not release my name for recorder related mailings largely a result of the splendid leadership Do not contact me via email. and musicianship of recorder player Judith Linsenberg and violinist Elizabeth My address, telephone and email address are the same as last time. Blumenstock. While ensemble size and ______personnel have varied over the years, the Name Phone Number group’s artistic quality and musical ______integrity have remained at the highest Address/City/State/Postal Code Email Address level and earned them numerous rave reviews and accolades. Please charge to: (Circle one) VISA/MasterCard/AMEX/Discover
On this CD, Fire Beneath My Fingers, CC#:______Expiration Date: ______Linsenberg and Blumenstock are joined by a third featured performer, bassoonist Signature of cardholder:______Michael McCraw, who participates as either soloist or basso continuo player in Clearly Print Name as it appears on Card:______Renew by Mail, Online, By Phone or by Fax four of the six works. Musically this recording is a pleasure Demographic Information throughout. I found several things that (optional information collected only to enhance ARS services and provide statistics to grant makers): especially endeared it to me. Rarely have I heard more beautiful I am a member of ARS Chapter or Consort______ I am the Chapter Contact violin playing than that in the (very) slow Your age: Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) middle movement of the Tartini A Major violin concerto. Blumenstock renders Please check all that apply: melodic lines that are at once gorgeous, I am a Professional Recorder Performer. sensitive, limpid, and extremely expres- I wish to be included in the list of Recorder Teachers in the ARS Directory and website. sive. This is simply fantastic playing. I Teach: (circle your choices) Of course, Linsenberg’s playing is Children High School Youth College Students Adults always a delight, and her work on this CD Beginner Intermediate Advanced Pre-Professional is no exception—but it surprised me to Individuals Children’s Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly find that I was most drawn to the only work on which she plays soprano Where I Teach: : (circle your choices) recorder: the Sammartini Recorder Con- Music Studio Public or private school Community Music School certo in F Major. It is a wonderful piece, College Other : ______brilliantly played; not the least of its Phone: 314-966-4082 charm is the lovely sound she evokes American Recorder Society Fax: 314-966-4649 from her instrument. 1129 Ruth Dr. TollFree: 800-491-9588 If you have never heard Vivaldi’s Trio St. Louis MO 63122-1019 [email protected] Sonata in A Minor for Recorder, Bassoon www.AmericanRecorder.org
November 2008 31 American Recorder Society Publications and Basso Continuo (RV86), that fact alone Erich Katz Contemporary Music Series Members Non-Members gives you reason to find this CD and give A Short Tale for Two Basses Suzanne M. Angevine (Level II) (2 scores) $5 $8 Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score & parts) $10 $18 it a listen. This slightly odd combination Dorian Mood Sally Price (SATB) (Level II) (score & parts) $10 $18 of solo instruments makes even the occa- Double Quartet for Recorders Peter Ballinger (Level II-III) (score & parts) $10 $18 Entrevista Frederic Palmer (SATB) (Level II) (2 scores & 4 recorder parts) $8 $14 sional Vivaldi cliché sound almost fresh. Kyrie and Vocalise for Soprano Voice &Recorders Stanley W. Osborn $8 $14 (SATB) (Level II) (2 scores & 4 recorder parts) While AR readers are surely familiar with Picnic Music Jeffrey Quick (SATB) (Level II) (score & parts) $5 $8 recorder virtuosity, I suspect many will be Six Short Pieces for Three Recorders edited by Alan Drake $8 $14 (3 scores) Vaclav Nelhybel (AA/TT) (Level II) more than a little impressed by McCraw’s Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12 bassoon technique. (Level II) (2 scores) Sonatine for Three Altos Lee Gannon (Level III) (score & parts) $14 $26 Suite of Jewish Folk Tunes Erich Katz (S S/A8 A/T) (Level II) (three scores) $10 $18 If you have never heard Musical Editions from the Members’ Library: ARS members: 1 copy-$3, 2 copies-$4.50, 3-$6, 4-$7.50, 5-$10, 6-$11.50 Non-members (editions over 2 years old): 1 copy-$5, 2 copies-$8.50, 3-$12, 4-$15, 5-$19.50, 6-$23 Vivaldi’s Trio Sonata in The ARS is happy to provide photocopied enlargements of any Members’ Library edition at the same prices. Please specify “Members’ Library Enlargement.” Arioso and Jazzy Rondo (AB) Carolyn Peskin New Rounds on Old Rhymes (4 var.) Erich Katz A Minor for Recorder, Bruckner’s Ave Maria (SSATTBB) Other Quips (ATBB) Stephan Chandler Jennifer W. Lehmann, arr. Poinciana Rag (SATB) Laurie G. Alberts Canon for 4 Basses (BBBB) David P. Ruhl Santa Barbara Suite (SS/AA/T) Erich Katz Bassoon and Basso Dancers (AT) Richard Eastman Sentimental Songs (SATB) David Goldstein, arr. Different Quips (AATB) Stephan Chandler Serie for Two Alto Recorders (AA) Frederic Palmer Elegy for Recorder Quartet (SATB) Carolyn Peskin Slow Dance with Doubles (2 x SATB) Colin Sterne Continuo (RV86), Elizabethan Delights (SAA/TB) Sonata da Chiesa (SATB) Ann McKinley Jennifer W. Lehmann, arr. S-O-S (SATB) Anthony St. Pierre Fallen Leaves Fugal Fantasy (SATB) Dominic Bohbot Three Bantam Ballads (TB) Ann McKinley that fact alone gives Four Airs from “The Beggar’s Opera” (SATB) Three Cleveland Scenes (SAT) Carolyn Peskin Kearney Smith, arr. Three in Five (AAB) Karl A. Stetson Gloria in Excelsis (TTTB) Robert Cowper Tracings in the Snow in Central Park (SAT) you reason to find this Idyll (ATB) Stan McDaniel Robert W. Butts Imitations (AA) Laurie G. Alberts Trios for Recorders (var.) George T. Bachmann In Memory of Andrew (ATB) David Goldstein Triptych (AAT/B) Peter A. Ramsey CD and give it a listen. Lay Your Shadow on the Sundials (TBgB) Two Bach Trios (SAB) William Long, arr. Terry Winter Owens Two Brahms Lieder (SATB) Thomas E. Van Dahm, arr. LeClercq’s Air (SATB) Richard E. Wood Variations on “Drmeš” (SATB) Martha Bishop Generally speaking, Dorian did a Little Girl Skipping and Alouette et al (SATBCb) Vintage Burgundy (S/AS/ATT) Timothy R. Walsh Jennifer W. Lehmann, arr. good job with the sound quality of this Los Pastores (S/AAA/T + perc) Virginia N. Ebinger, arr. CD, although I found the bassoon level a ARS Information Booklets: bit overbalanced on the Vivaldi B Major ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 bassoon concerto (RV503). Also, what Adding Percussion to Medieval and Improve Your Consort Skills Susan Carduelis Renaissance Music Peggy Monroe Music for Mixed Ensembles Jennifer W. Lehmann initially sounded like intermittent American Recorder Music Constance Primus Playing Music for the Dance Louise Austin static/electronic interference in the final The Burgundian Court and Its Music Recorder Care Scott Paterson Judith Whaley, coord. movement of the Vivaldi A Minor trio Non-members: 1 booklet-$18, 2 booklets-$33, 3-$44, 4,$55, 5-$66, 6-$76, 7-$86 sonata is (I suspect) more likely closely- Education Publications miked bassoon-key clatter—a distracting, The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). First copy free to ARS Members (mailed to new members as they join); replacement copies, $3. albeit minor, problem. Guidebook to the ARS Personal Study Program (1996). Material formerly published in the Study Guide Finally, I extend a plea to the folks at and Study Guide Handbook, plus additional resources. Members, $11; non-members, $20. ARS Music Lists (2002 with 2003 Supplement). Graded list of solos, ensembles, and method books. Dorian Recordings: a CD with three Members $9; non-members, $15. composers, six works, and 19 movements Package Deal available only to ARS members: Guidebook and Music Lists/Supplement ordered together, $16. Junior Recorder Society Leader’s Resource Notebook. deserves track numbers to help the listen- ARS members, $20; non-members, $40 (updates at reduced rates after initial purchase). er quickly get to the desired selection. $5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+). Personal pet peeves aside, this splen- Videos did new offering by Music Pacifica is most Recorder Power! Educational video from the ARS and recorder virtuoso John Tyson. An exciting resource about teaching recorder to young students. ARS members may borrow a copy for one month deserving of a place in your music library. by sending $5 to the ARS office along with the address to which the tape should be shipped. Gary L. Maas Pete Rose Video. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recital. Features Rose performing a variety of music. and an interview of him by ARS member professional John Tyson. Other Publications Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering forming an ARS chapter. ARS members, $10; non-members, $20 (updates free after initial purchase). One free copy sent to each ARS chapter with 10 members or more. Consort Handbook. Resource on consort topics such as group interaction, rehearsing, repertoire, performing. ARS member prices: CD, $10; hard copy, $20; combo price of CD and hard copy ordered together, $25. Discography of the Recorder, Vol. I (1989) . Compiled by Scott Paterson and David Lasocki. Discography of the Recorder, Vol. II (1990-1994) . Compiled by Scott Paterson. Either single volume: ARS members $23; non-members, $28. Both Discography volumes together: ARS members only, $40. American Recorder: Cumulative Index for Vols. I-XXXX. ARS members, $20; non-members, $32. Index Supplement, Vol. XXXIV-XXXX. ARS members, $8; non-members, $14.
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32 American Recorder Order your recorder discs through the ARS CD Club!
The ARS CD Club makes hard-to-find or limited release CDs by ARS members available to ARS members at the special price listed (non-members slightly higher). All CDs are $15 ARS members/$17 Others unless marked otherwise. Two-CD sets are $24 ARS members/$28 Others. Add Shipping and Handling: $2 for one CD, $1 for each additional CD. An updated listing of all available CDs may be found at the ARS web site:
Lovely, NEW! IN STOCK (Partial listing) mellow, ____PIRATES OF THE BAROQUE Red Priest; ____CORELLI, ARCANGELO: CONCERTI different from Piers Adams, recorders. Musical piracy of composi- GROSSI OPUS 6 John Daniels, Sonja Lindblad, the wide variety of tions, ideas & identity, featuring music of Vivaldi, recorders; Peter Sykes, harpsichord. Trio sonata sounds of other Piffaro CDs—sure to please Tartini, Leclair, Simonetti,Couperin.“... swashbuck- arrangement by Johann Christian Schickhardt. recorder players who love the organ-like sound of ling virtuosity, Red Priest not only delivers stylishly ____DISTRIBUTION OF FLOWERS Cléa Galhano, Renaissance recorders. performed Baroque pieces, but also occasionally recorder; Tony Hauser, guitar. Latin CD featuring ____SENFL (LUDWIG) Farallon Recorder Quartet adds sound effects.”—NPR. Red Priest, 2007 works by Argentinian accordion virtuoso Astor (Letitia Berlin, Frances Blaker, Louise Carslake, Piazzolla, The History of Tango, & Brazilian com- Hanneke van Proosdij). 23 lieder, motets and instru- ALSO FEATURING RED PRIEST! posers including Villa Lobos, Pixinguinha, Hermeto mental works of the German Renaissance. ____NIGHTMARE IN VENICE Red Priest: Piers Paschoal, Waldir Azevedo. Ten Thousand Lakes. ____SONGS IN THE GROUND Cléa Galhano, Adam, recorders; Julia Bishop, violin; Angela East, ____EAST OF THE RIVER Daphna Mor, Nina recorder, Vivian Montgomery, harpsichord. Songs cello; Howard Beach, harpsichord. Vivaldi, Corelli, Stern, recorders; Omer Avital, bass & oud; Uri based on grounds by Pandolfi, Belanzanni, Vitali, Purcell, LeStrange and others. Dorian. Sarlin, accordion; Tomer Tzur, percussion. Haunting Bach, others. Ten Thousand Lakes. ____PRIEST ON THE RUN Red Priest; Piers melodies and exhilarating rhythms from Armenia ____STOLEN JEWELS Ensemble Vermillian: Adams, recorders. Concerti composed by the and the Balkans. East of the River Music. Frances Blaker, recorders; Barbara Blaker Krum- group’s namesake, flame-haired Vivaldi. Upbeat. ____AN EVENING WITH BACH Voices of Music: dieck, Elisabeth Reed, Katherine Heater. 17th-cen- ____VIVALDI: THE FOUR SEASONS Red Priest: Hanneke van Proosdij, Louis Carslake, Dan Laurin, tury German music adapted by Blaker: "I love violin Piers Adams, recorders; "If you think you know the recorders; Joanna Blendulf, Elizabeth Blumenstock, music... so I steal the music and rearrange it for my Seasons, if you've heard it (or played it) far too often Rodney Gehrke, Lisa Grodin, Katherine Kyme, own instrument.” Buxtehude Op. 1, Biber, Rosen- to ever want to hear it again–go straight out and buy Jennifer Lane, Victoria Gunn Pich, Susanne Ryden, muller, Krieger, JM Bach. Fafarela Recordings. this recording.—Early Music Today. Also A. Corelli's William Skeen, David Tayler. Renaissance and ____TASTE OF PORTIQUE L'Ensemble Portique. Christmas Concerto. Red Priest, 2005; re-release of Baroque music centers on fine singing. Instantly Early and contemporary chamber music— 2003 Dorian recording. recognizable Air on a G String, Bach’s Prelude in Bach, Telemann, Boismortier and others. G Major (solo theorbo for ’cello), plus lilting vocal ____TELEMANN ALLA POLACCA FOR THE HOLIDAYS performances—Ryden’s weightless soprano on REBEL– Matthias Maute, recorders & traverso– ____CAROLS FOR DANCING Renaissonics, John Bist du bei mir, Lane’s rich alto on Es is vollbracht. plays concerti and suites by G.P. Telemann. Dorian. Tyson, recorder. Instrumental arrangements by the ____FIRE BENEATH MY FINGERS Judith Lin- ____TELEMANN CANONS AND DUOS Lisette group for a public radio holiday show, with focus on senberg, recorder; Musica Pacifica. Showcases Kielson & Patrick O'Malley, recorders; L'Ensemble intimate connections among familiar holiday music three legendary composers who were also virtu- Portique. Telemann, Canons mélodieux & Sonates and Medieval and Renaissance dances. WGBH. oso performers. Vivaldi, Concerto in F major, after sans basse. 2-CD set. LEP Records, ____CHRISTMAS AT THE CASTLE Five centuries RV 98/570 “La Tempesta di Mare”; Sonata in A ____20TH CENTURY MUSIC FOR RECORDER & of holiday music from many lands; a Christmas con- minor, RV86; Concerto in G minor, RV106; Con- PIANO Anita Randolfi, recorders. Music by Jacob, cert set in a castle, played & sung by 17 musicians certo in B major, RV503; Sammartini, Concerto in Bartok, Leigh, others for recorder & piano. on recorders, strings, percussion & voice. F major; Tartini, Concerto in A major, D91. Dorian. ____VIVALDI AND THE BAROQUE GYPSIES ____CORELLI, ARCANGELO: CONCERTI ____LES AMIS DU BAROQUE Paul Nauta, Matthias Maute & Sophie Larivière, recorders; GROSSI OPUS 6 American Bach Soloists, Jeffrey recorder & Baroque flute; Koen Dieltiens, recorder. Ensemble Caprice. Gypsy music taken from Thomas, conductor; Dan Laurin, Hanneke van Music by Bassani, Corelli, Vivaldi, etc. Highlight Intl. Uhrovska zbierka (now Slovakia), plus Vivaldi. Proosdij, recorders. "Christmas Concerto" featuring ____LES SEPT SAUTS: BAROQUE CHAMBER unique 1725 London version with solos transcription ____WINDFIRE Charmaine Delmatier, recorder; for two recorders, instead of two solo violins, in MUSIC AT THE STUTTGART COURT. Matthias Steve Kostelnik, classical guitar; Terry Hale, bass; three of the six concertos. Delos. Maute & Sophie Larivière, recorders & traverso; Erik Hokkanen, violin. Refreshing mixture of Andrew ____DANCING DAY Scott Reiss, Tina Chancey & Ensemble Caprice. Charming repertoire by Lloyd Weber, American blues, flamenco, Celtic, and Jane Hershey, recorders; HESPERUS’s other early Schwartzkopff, Bodino, Detri. Atma Classique. one original piece.
34 American Recorder multiplied from three to six. Under the able and enjoy- able direction of professionals Vicki Boeckman and Darlene Franz of Seattle, WA, the Merrie Pipers produced resonant sounds that surprised directors and players alike. Repertoire from Josquin to jazz delighted the participants. On the pre- ceding page is a group photo of those attending the Kelowna The Albuquerque Recorder Orchestra, whose members are drawn from the Albuquerque (NM) chapter, workshop, plus played its second concert in the Albuquerque/Bernalillo County Library Concert Series on April 5. an inset of A variety of songs and dances from England, Ireland, Scotland and Wales were offered along with two Merrie music from the 18th century and earlier. The library has already reserved a March 2009 date for Pipers playing— the group’s next series concert so that it can be part of Play-the-Recorder Month. Shown above are Nita Forster (in the orchestra members: Ruthann Janney at front; (next row, l to r) Christy Crowley, Carolyn Shaw, the foreground) Barbara Frames, Lynda Abshite; (back row, l to r) Kees Onneweer, Gus Winter, Olivier Uyttebrouck, and Judy Akins Bryan Bingham, and director Ray Hale. (Not pictured: Kelly McDowell.) (at the back). Both shots were taken by Bill Stickney. certs of the newly-formed Recorder move successfully from one instrument to Along with classes, workshops and Orchestra of the Midwest (ROM) are another, using C and F fingerings and private lessons, the Merrie Pipers enjoyed directed by Cléa Galhano. reading bass clef. something they do well without coach- Organizers Marilyn Flowers and Please respond to Flowers ing—social dining! Weezie Smith wrote in a letter of
November 2008 35 Recorders North Coast, a small but active ARS chapter (meeting in northern California near Eureka and Arkata) hosted two outstanding musicians and teachers from the San Francisco Bay Area for an April workshop. Recorder player Eileen Hadidian and early string specialist Shira Kammen gave a combined recorder/string day-long workshop called “Fire and Ice.” The musical travels ranged through Medieval Eng- land, Sweden, France and Italy, as well as introducing the traditional songs and dances of Ireland, Bulgaria, Hungary and Armenia. (Photo above: Eileen, right, uses party favors to help, from left, Liz Wolff, Dave Abell and Evelyn Roberts with breath control.) Participants were also treated to “Celtic Spirit: an Evening of Traditional, Medieval and Renaissance music from the British Isles.” Hadidian (recorder, flute and folk harp) and Kammen (violin, vielle, folk harp and voice) were joined in the concert by local guests Elizabeth Rau (soprano) and Jeanne Pendergast (folk harp). The Carolina Mountains Recorder Society, a The Colorado Recorder Orchestra (CRO), with support from the Greater Denver recently-created ARS chapter, held its first monthly Chapter, sponsored a two-day workshop with internationally-acclaimed recorder Play-Along on April 26 at College Walk Retirement player Cléa Galhano as conductor. The September weekend workshop was held Community in Brevard, NC. About 20 players were in Boulder, CO. welcomed to the Play-Along by Marilyn Perlmutter, On September 12, Galhano led the group of approximately 20 CRO members, as an ARS Board member (center above, flanked by well as five other local recorder players, in a dynamic and challenging two-hour chapter members Carol Markey at left and Sharen program that included Fata la Parte by Juan el Encina, El Grillo by Josquin Desprès, Hafner, right). The program was tailored for all Sinfonia “La Bergamasca” by Lodovico G. da Viadana, Come Away, Death by Ralph levels of players, from beginning to advanced. Vaughan Williams, and a Brazilian tune, Agua e Vinho, by Gismonti/Carneiro. Future Play-Alongs will be held on the fourth Satur- Galhano’s style was upfront and energetic, mixing humor with her broad knowledge day of each month from 1–3 p.m. at Lutheran of music to get the most out of each player and stretching all with new techniques. Church of the Good Shepherd in Brevard. She helped the group to listen to the melody on the Encina and Desprez pieces, also enabling everyone to play faster and with more articulation. The participants enjoyed the double-choir piece by Viadana, where the focus was on players listening to one another and enjoying the riparte between the choirs—not just playing the notes. On September 13, Galhano worked with CRO members all day on an inter- national song program being prepared for three CRO concerts in October and November. Participants were amazed and enlightened by Galhano’s humorous demonstration that a rest is not just silence, but part of the music. None will ever look at a rest in the same light again! Many CRO members mentioned how difficult it is to play syncopated pieces such as Two South African Freedom Songs and Hava Nagila. Galhano was able to demonstrate how to listen to the melody and “feel it” rather than focusing too closely on the notes. All in all, CRO members were tired (but in a good, “creative juices” way) after the all-day session. The group has tips and ideas to practice on for years to come! After the workshop, all met at the home of a CRO member for a reception for Galhano. She was touched to read “thank you” in Portuguese on a cake made for her (photo at left). On September 14, Galhano and CRO director Rosi Terada presented a concert. Featuring Galhano on recorder and Terada on harpsichord, the program included pieces by Jacob van Eyck, Marco Uccellini, Please change your Jacques Hotteterre, G. P. Telemann, Francesca browser’s favorites list: Mancini, Jean LaBarriere, Kilza Setti, E. Gismonti/ Carneiro, and Johann Sebastian Bach. Both perform- AR online is now at ers were at the top of their game, and the concert was
36 American Recorder Growing a Successful Workshop: drew 30, including folks from other sessions, available to participants at a Recorders in the Arizona Pines states. reasonable additional fee. My “day job” is facilitating change in As part of our 2008 experiment, the As the weekend unfolded, the plan- teams and organizations, but my passion faculty was doubled by inviting two pro- ners identified areas that pleased them, as is music, especially the recorder! The fessional workshop leaders, Tish Berlin well as things that needed to be changed Prescott (AZ) Recorder Workshop, and Frances Blaker; expanding the for- and/or improved for next year. It was im- which just celebrated its seventh year, mat to all day Saturday plus Sunday morn- portant to get feedback and input on this has been a wonderful opportunity to ing; offering a Saturday evening concert “grand experiment,” so a survey was part combine both of these interests. by Berlin and Blaker, playing as the Tibia of the workshop packet; 32 responses In 2002, our first year, the Prescott Recorder Duo; and renting a larger were received. I also followed up with an event consisted of perhaps a dozen play- facility in Prescott to give more space for e-mail questionnaire after the workshop ers from Phoenix and Prescott, about two large- and small-group sessions, private and got more useful comments. hours north of Phoenix, who gathered in lessons and ensemble coaching, plus the Would we do it again? Yes, we are the living room of a Prescott player for a concert. already planning for 2009! As experi- Saturday self-led play-in. For its seventh Also included was the ever-popular ments for next year, early-bird activities year, the 2008 workshop was a “grand garage sale. (One person’s “pre-owned” will be added for those who can get to experiment” that not only drew two pro- items are another’s new treasures; Prescott on Friday—perhaps scheduling fessional leaders and over 40 participants, what fun to shop when you know the coaching sessions and lessons then, so as but also generated tons of enthusiasm and proceeds go to the ARS chapters!) not to take time and players away from ideas for future Prescott workshops. The Of course, this success is also based the large group, and also a fun play-in success of our “grand experiment” may on the many generous contributions on Friday night led by a chapter member. encourage others to take the next steps of the Phoenix and Prescott sponsors, Now that the new venue is a known in providing quality experiences for which can’t be measured in dollars. quantity, logistical changes can be made. their own recorder communities. Organizers were concerned about cov- We are confident that we will be able to An exciting development for the ering the higher costs involved in this present another fun and educational 2008 workshop was the birth of the grand experiment, but happily it was a recorder experience next summer that will Central Arizona Highlands ARS musical and financial success! For the Sat- also be a financial success for the Prescott Chapter in Prescott this year. Working urday portion of the workshop, which and Phoenix ARS chapters. We look for- with the Phoenix-based Desert Pipes consisted of large- and small-group play- ward to sharing our experiences with you ARS Chapter (
CHAPTER NEWS Chapter leaders! Chapter newsletter editors and publicity officers should send materials for publication to: American Recorder, 7770 South High St., Centennial, CO 80122-3122, We know you’re out there
November 2008 37 RESPONSE ______Another recorder poem, ______and more on getting organized
SPREADING THE WORD ABOUT sheet work, of course. So I set to work, and A POEM PRAISING TWO ORGANIZING MUSIC we’ve been using the new spreadsheet for WORKSHOP LEADERS WITH SPREADSHEETS the last few weeks. They can still file their Gwen Galton, a member of the Merrie In response to an article about using a music in three-ring binders, or folders, or Pipers of Kelowna, BC, was inspired to write spreadsheet to organize music (March ARS however they want, but at least we know this poem after the group’s workshop: Newsletter), author Janice Arrowsmith what music to practice and bring to the received a letter from a fellow recorder player: next session. And by circling the appropri- Ode to Vicki and Darlene ate part under “Voices,” we won’t wonder With humour and skill Dear Janice, which part we were assigned. you cheered us on, Your little article ... caught my eye, and its I’ve made several revisions to my first and taught us to play like pros. content answered a question that had spreadsheet design and added a few more We breathed to perfection been bugging me for the last 10 or 11 years columns to handle our ideas. Adding section by section, that I have been playing with the Thames columns meant I have to print it in land- and played perfect highs and lows. Valley Music School Recorder Ensemble. scape orientation rather than portrait, but We have always struggled with the same that poses no problem. I added the Our dynamics were grand as we filled problem of music organization that you “PRACT. BRING” column so we can note the room reported, and your solution was such a what to practice during the week and bring with music both gentle and strong. revelation that I wondered, “Now why to next week’s session. We have several Never before didn’t I think of that!” books of recorder pieces that we use from had we heard ourselves soar, At our very next weekly Ensemble ses- time to time, so I added the “BOOK” col- and play not a single note wrong. sion, I described your system to the rest of umn and printed the line in the color of the our Ensemble members, and they thought book cover. The “PAGE” column helps us So thank you Vicki, and it was worth a try—if I’d do the spread- find the piece(s) for that week. The thank you Darlene “METRONOME” column helps us prac- for improving our sound and technique tice up to our leader’s tempo preference, We play so much sweeter, and the “COMMENTS” column is mostly agree Jean and Peter. a catch-all. We wish you could come every week! Thanks for sending the article to ARS. The idea has improved our Ensemble music organizing tremendously. I suspect many other groups will find it as helpful Responses from our readers are welcomed and Lost in Time Press as we have. may be sent to American Recorder, 7770 South High St., Centennial, CO 80122. Cordially, Bob Radway Letters may be edited for length and consistency. New works and Waterford CT arrangements for recorder ensemble
Compositions by Frances Blaker Paul Ashford Hendrik de Regt and others Early Music America Magazine is the quarterly publication for the Early Music Community in North America: Professionals, Students, and Inquiries: Audience members. Corlu Collier PMB 309 Articles on performance practice, trends in the 2226 N Coast Hwy field, recording reviews, and a new book reviews Newport, Oregon 97365 department. www.lostintimepress.com [email protected] Call 888-722-5288 or email [email protected] for a FREE sample issue.
38 American Recorder MUSIC REVIEWS ______More Fun and Games, ______and music to play for the holidays
I CARE NOT FOR THESE LADIES Orlando Series of Orpheus Music voices. (On the humorous side: the first AND OTHER ELIZABETHAN LUTE publications. According to the liner notes, piece is called Song of the Ass. Wouldn’t SONGS, ARR. LANCE ECCLES. Orpheus the series “comprises arrangements for some children have fun with this title?) Music Orlando Series OMOS 001 recorders of existing works by known I have several favorites in this collec- (
November 2008 39 TIME PIECES FOR DESCANT/ These books become especially valu- ate playing range. Some pieces demand SOPRANO RECORDER, VOLS. 1 & 2, able as they contain music representing fairly sophisticated rhythm-reading ARR./ED. KATHRYN BENNETTS AND Classical, Romantic and Modern peri- ability. PETER BOWMAN (ALSO ALAN BULLARD). ods— styles that are often not included in Again, selections begin with very early ABRSM Publishing (
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40 American Recorder Little Shepherd” from Children’s Corner to the spirit and the harmonic structure Hieronymus kept the post until his death and the very chromatic “March” of the original compositions. in 1629. from Three Youthful Pieces by Witold To fortify the impact of this journey He was held in high regard during his Lutoslawski. Volume 2 ends with another through music history, I would suggest lifetime, as shown by a five-volume edition movement from the Suite of Six Pipers, that teachers have their students listen to of his complete works, Opus musicum, “Morning Piper.” the pieces in their original versions, so that published in 1622. The two pieces in this The two volumes of Time Pieces for alto they will have the spirit of the originals in recorder edition are taken from the second recorder are presented in a fashion similar mind as they play the arrangements. volume of that set. to the soprano books, but they contain dif- Sue Groskreutz has music degrees from The tricky part of these pieces is getting ferent pieces. Vol. 1 begins with Japanese, Illinois Wesleyan University and the Univer- the two choirs to play well back and forth, Finnish and English folk tunes, then pro- sity of Illinois, plus Orff-Schulwerk certifica- in addition to playing together. The notes gresses through the eras to Benjamin tion from DePaul University. Playing and themselves are playable by a group of in- Britten and Béla Bartók. It ends with three teaching recorder are the greatest musical termediate ability, but putting it together original unaccompanied compositions loves of her life. She was president of the could be a challenge—especially if you composed in 2006 by Bennetts. American Recorder Teachers’ Association for choose to separate the two groups physi- My favorite in this volume is an 10 years. cally. To have one group in front of the arrangement of the theme from Symphony church or hall and another in back, or one No. 1, third movement, by Gustav Mahler. Music students on any group in a balcony and one group in the The piano accompaniment preserves the main area, or each group in a balcony growing intensity and the fugal structure instrument at any level across from each other—these are all fun, of this piece. but challenging, performance options that Another great choice is the Muskrat of instruction should be would make these pieces exciting addi- Ramble by Kid Ory. Intermediate students tions to any Christmas program or church who have mastered two octaves of F developing a knowledge service. fingerings would feel comfortable with of stylistic distinctions of this volume. TWO MORE SPIRITUALS, ARR. ALYSON Volume 2 for altos begins with an the various musical eras. LEWIN. Hawthorns Music SA 14, Irish tune and ends with two more pieces (Magnamusic), 2003. SSAT, pf. Sc 7 pp, by Bowman—“Mexican Jumping Beans” 4 pts. $19.50. and “I.” TWO ANTIPHONAL CHRISTMAS Alyson Lewin has arranged “Steal All four of these volumes include won- CHORALES, 1622, HIERONYMUS Away” and “Joshua Fought the Battle of derful selections, representative of many PRAETORIUS, ED. HELMUT MÖNKEMEYER. Jericho” for a recorder quartet that doesn’t historical eras and of many different gen- Moeck 3308 (Magnamusic), 2007. require a bass player. This already makes it res within each era. But I especially SAAT/A + T/ATBB. Sc 7 pp, 8 pts, 3 pp ea. great for a student ensemble. enjoyed the music chosen for this fourth $26.95. On top of that, the pieces are at an book. The “Entr’acte” from Bizet’s opera One of the lovely things that greets you advanced beginner level, and each part is Carmen is a great piece to demonstrate as you read the front of each part of this interesting, which makes it a good piece to the recorder’s capabilities when playing edition is this statement: The parts use when teaching students the basics of a melody usually associated with the oboe. enclosed are designed for copying. This is ensemble playing. I was also delighted to find excerpts from to enable recorder orchestras or larger I highly recommend this collection for Edvard Grieg’s Holberg Suite and Carnival recorder ensembles to copy as many of the teachers looking for fun, but challenging, of the Animals by Camille Saint-Saëns. legally purchased parts as required. This pieces in their work with recorder ensem- Especially dear to my heart is the Fantasia makes it a good investment because you bles whose members are of any age. on Greensleeves by Ralph Vaughan could perform this with eight recorder Williams, after an arrangement by Alan players (or four recorder players and four AWAY IN A MANGER: A CAROL, Frank. This volume would be appropriate singers, as the German words are included BY DAVID DUBERY. Peacock Press PJT 097 for the upper edge of intermediate range. to “Joseph, lieber Joseph mein” and “In (Magnamusic), 2007. Voice, A (or flute), Considered as a whole, this series dulci jubilo” under the parts to both pf. Sc 6 pp. $17.50. really hit home with me, since music choirs). Additionally, if you have a larger SUMMER IN WINTER: A CAROL, BY students on any instrument at any level group, even a recorder orchestra, you can SASHA JOHNSON MANNING. Peacock of instruction should be developing a make as many copies as you need for Press PJT 098 (Magnamusic), 2007. Voice, knowledge of stylistic distinctions of the your ensemble. Personally, I like that kind A (or flute), pf. Sc 8 pp. $17.50. various musical eras. In fact, this series of friendly approach from a publisher! These two pieces are from a series of Time Pieces has been published for These are good double-choir arrange- edited by John Turner called “The Con- several other instruments including clar- ments of fairly familiar Christmas chorales temporary Recorder.” Both are very chal- inet, flute, horn and ’cello. set by Hieronymus Praetorius. He was lenging for all three parts (in fact, the These arrangements are selected born in Hamburg, Germany, in 1560 and recorder parts look more like flute parts from a wide variety of originals—from became the town cantor in Erfurt in 1580. with lots of top-of-the-register passage- solo piano pieces to symphonic move- In 1582, he was appointed organist at the work). Both are very modern in tonality, ments. The arrangements by Bowman Church of St. James in Hamburg, taking using dissonance and 20th-century-style and Bullard are top-notch; the piano over after the death of his father (who had interval leaps throughout. accompaniments are interesting and true served in the post for at least 25 years). This is the kind of music that some
November 2008 41 consider “an acquired taste.” It is well ers. The piece uses only 16 pitches, but esting similarities in the musical process done, but is not for the faint-hearted. getting the right pitches to sound in the involved in the performance of complex David Dubery’s Away in a Manger, right rhythms on bottles is quite a Renaissance polyphony and what might dedicated to John and Margaret Turner, demanding feat. be called ultra-modern or avante garde sets the traditional Christmas carol text to Of course, Op de Fles may be played on contemporary compositions. These a new tune. Dubery was born in South four recorders, but I doubt that it would include features such as polyrhythms, Africa but returned to England as a young- result in the same musical or visual effect intricate meter shifts and unusual synco- ster. For the past 30 years, he has worked as a bottle performance. pations that demand a highly skilled as a pianist, accompanist, composer, vocal In addition to the minimalist pitch and flexible musicianship—a collective coach and teacher of both piano and voice. vocabulary used in Op de Fles, Geysen’s ability to make quick conceptual shifts He has also made recordings for the BBC. compositional procedure is also minimal- without compromising the tempo. Sasha Johnson Manning’s Summer in ist. The four-part ensemble produces a And just as Renaissance composers Winter is a setting of a poem by Richard nearly continuous flow of eighth notes. could write incredibly convoluted Crashaw (c.1613-49) and was written to The melodic material is made up of cells of rhythms by using combinations of col- celebrate the 80th birthday of the com- a few notes each, which gradually change oration, numbers, unique note shapes poser John Joubert, to whom the work is rhythmic shape—though the cells never and metrical signs, composers of modern dedicated. Manning studied singing, ’cel- move very far from their original shapes. music also expand standard notational lo and piano at the Royal Academy of Mu- Op de Fles is dedicated to the Flanders conventions in creative ways to achieve sic. She is a professional singer and a self- Recorder Quartet and can be heard as distinctive effects. taught composer, and has written a sub- the final piece on their CD Banchetto The two pieces reviewed here display stantial quantity of choral music and solo Musicale. At four-and-a-half minutes long, considerable rhythmic complexity, as well songs, as well as several school musicals. it effectively serves as the encore for the as a highly chromatic style that also Both of these pieces push the limits of program. It will serve the same purpose exploits the highest register of the the alto recorder and require advanced for any quartet with the skill and patience instrument. Both works make for a musicians in all three parts. They would to learn to play “on the bottles.” serious playing challenge. make an unusual addition to a winter con- Anita Randolfi lives and works in New Of the two, Travelling Bugs is the more cert and would show that the recorder is York City, NY, where she performs on difficult, but neither one is easily appre- not just a quaint instrument for little recorder and flute, and teaches recorder, hended. Though the two groups that dance pieces, but a serious modern in- recorder consort and chamber music. She is played them for review consisted of expe- strument worth our best efforts. on the faculty of Mannes College of Music rienced performers and included several Valerie E. Hess, M.M. in Church (New School) and Diller-Quaile Music professional musicians, the sight-reading Music/Organ from Valparaiso University, is School. She currently plays with Chelsea entailed a lot of stops and starts. One Coordinator of Music Ministries at Trinity Winds and the Manhattan Recorder Orches- ensemble consisted of recorder players Lutheran Church, Boulder, CO, where she di- tra, plus is active in freelance work. Her CD who like contemporary music, but inter- rects the Trinity Consort. She has also pub- Twentieth Century Music for Recorder estingly, it was the Miami early notation lished two books on the Spiritual Disciplines. and Piano is available in the ARS CD Club. group that enjoyed them more. Coincidentally, both works were com- OP DE FLES (ON THE BOTTLES), BY posed by women. The theme of the Con- FRANS GEYSEN. Heinrichshofen N2597 Of course, Op de Fles sort Royal is explicitly feminine-oriented. (C. F. Peters), 2007. 4 Players and 16 may be played on four The composer of Travelling Bugs, bottles (or four recorders). Sc 15 pp (8 pp recorders, but I doubt that Nicola Termöhlen, was born in 1979 in of music), pts 3 pp. $18.95. Oldenburg, Germany. She is a recorder Frans Geysen (b.1936) is a Belgian it would result in the same player and oboist who performs with the composer and writer about music. Since musical or visual effect as ensemble IL SUONO, the Hamburger 1975, he has taught at the Royal Barockorchester, Concertone Hamburg, Conservatory in Brussels. A search on a bottle performance. Elbipolis and others. She often plays her Wikipedia brings up a long list of his own works, and has received a number of compositions in a wide variety of media, TRAVELLING BUGS, BY NICOLA composition prizes, including three but Geysen must have a special affection TERMÖHLEN. Moeck ZFS 813 awards of the Jeunesse musicale in for recorder: Wikipedia lists several (Magnamusic or,
42 American Recorder The composer’s notes tell us that we wives, it seemed fitting to her to make TEN LITTLE MONOLOGS, BY LOTHAR should be guided by the qualities of these them the focal point of this work. GRAAP. Moeck Zfs 802 (Magnamusic), insect creatures when performing this The individual movements are dedi- 2006. S solo, 6 pp. $7. piece. For example, the players should cated to the wives in chronological order, Lothar Graap (b. 1933) is a German assume the shield-like character of the though they also have descriptive titles: composer who studied at the Kirchen- insects in order not to “get thrown off “Sarabande” (Catherine of Aragon), musikschule in Gölitz. He primarily plays track” while making a serious effort to stay “Crown of Fire” (Anne Boleyn), “Song the organ and composes music for it. After together in order to arrive at the end of the for Mother and Child” (Jane Seymour), reading his biographical information, I journey together. In addition to the pref- “Allemande” (Anne of Cleves), “Rose was filled with memories of powerful ace notes, this edition gives instructions Without Thorns” (Catherine Howard) church organ music and wondered if the for correct production of the accents, fin- and “Healing Light” (Catherine Parr). composer’s background in organ would gerings and dynamics, and also indicates The cover notes give short biographical be reflected in these pieces, but it was that melody should predominate over the sketches of the six women. not overpoweringly so [Editor’s note: beat. These indications, as well as the The cycle is scored for a variety of hard to do with one soprano recorder!]. preface and composer’s brief biography, instrumental combinations and tam- These 10 little monologs stand as indi- appear in German, English and French. bourine, with “Healing Light” also calling vidual pieces, each with its own distinct Without a doubt, this piece is difficult for a low ensemble of basses and great mood and rhythm. A monolog is an to perform well. The time signatures are bass. Some contemporary techniques are extended and uninterrupted speech made combinations of 3+4 and 3+3 over 8, required, such as flutter-tonguing and by one single person. While these are solo and the speed of the eighth-note is about singing through the recorder. pieces, they are not extended, each being 200. An eighth-note pulse is present in all The work is characterized by disso- roughly a half-page long, with repeats. but a few measures, and it shifts among nance, tremolos, glissandos and The preface (which is not translated the parts. The rhythms are highly synco- changing rhythms. Conceptual flexibility well into English) states, “The titles of the pated and include several hemiolas that is essential to negotiating the meter shifts. pieces refer to the character and pace of are quite tricky to negotiate. For example, in the song dedicated to the pieces,” yet the titles are printed only There is no standard key signature, but Anne of Cleves, the time signature in German. In fact, they are instructional numerous accidentals appear. Parts reach changes each measure in one section and the only clues to the expression of the up into the highest instrumental registers (2/4, 3/8, 2/4, 5/16, 6/16, 2/4), and the pieces. Luckily, my husband is a translator on occasion. note equivalences shift from the eighth and speaks German, so he graciously The piece demands an advanced level note to the 16th note. translated these titles for me. I will list of musicianship, not only of individual Knowing the program for the song them here for the benefit of anyone who players but in ensemble skills as well. Stay- cycle, it is possible to identify the musical decides to buy these charming and whim- ing together is the greatest challenge. As articulations of the wives’ personalities sical pieces, which are enjoyable to play: with many contemporary pieces, the and their individual relationships to 1. happy, light sound is not melodic in a traditional Henry. Catherine of Aragon’s piece uses 2. quiet, reserved sense, but it does indeed resemble bugs. the tambourine, thus implying a Spanish 3. lively, cocky Jana Skarecky was born in Prague and flavor. The top line in the song to Anne 4. fast, rigid in 1968 immigrated to Canada, where she Boleyn stops before the end, a tactic that 5. lively, energetic currently resides. She received a Bachelor suggests her execution. Jane Seymour, 6. slow, unwavering, gloomy of Music degree in Honors Composition who gave birth to the heir Edward VI, 7. quiet, reserved from Wilfrid Laurier University in Water- is described as calm and gentle, and her 8. bouncy, upbeat loo, ON, and a Master of Music degree lullaby selection reflects these qualities. 9. fast, spritely in composition from the University of Consort Royal, like Travelling Bugs, is 10. slow, dreamy Sydney, Australia. She studied piano more interesting for its contemporary We are informed in the preface that the and French horn, and her compositions uniqueness than traditional melody. It pieces are intended for teaching purposes. include a variety of vocal and instru- would make for an interesting accompani- The diversities in rhythms and moods, as mental genres. Her work shows ment to a non-musical event with an well as their various technical challenges, influence from Gregorian chant, the historical focus. would attest to the usefulness of using English modal tradition and Czech folk While I would not suggest either of them as teaching tools. The pieces are song. She currently teaches piano and these works for general ARS chapter aimed at different levels of players, with music theory at the Royal Conservatory of sight-reading sessions, they would appeal some more difficult technically than oth- Music in Toronto. In addition to her to experienced players who enjoy ers. They range from happy and light in musical career, Skarecky is an artist, often dissonance and unusual rhythmic 6/8 time to quiet and reserved in 3/4 time. painting and composing in tandem. configurations, and have a well-developed Some are gloomy and slow, yet moving. The Consort Royal was commissioned sense of musical adventure. I recommend this collection for both by the Bassano Quartet of Toronto. Beverly Lomer is an Adjunct Professor of teachers and recreational players looking According to the cover notes, the group Humanities at the Harriet L. Wilkes for interesting pieces with that little some- takes its name from the Bassano family of Honors College of Florida Atlantic Univer- thing extra. Playing them is immense fun! musicians who were active at the English sity, where she teaches courses in music and Rhiannon Schmidt is Welsh, but lives in court of Henry VIII. Because Skarecky culture. She is also a recorder player whose Houghton, MI, where she works as a dialysis had long been interested in this historical primary interest is in performance from nurse. She plays the soprano and tenor period and in the personalities of Henry’s original notation. recorders for recreation.
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