M A Y 2 0 0 2 3 3 . O N N , I I I L X X . L O V V , Y T E I C O S R E D R O C E R N A C I R E M A E H T Y B D E H S I L B U P sheet www.moeck-music.de recorders flauto penta modern music flauto 1 folk&pop flauto 1 plus methods/tutors worls school recorders books flauto rondo rottenburgh modern music steenbergen music cartoons stanesby periodicals hotteterre tibia. magazin für holzbläser kynseker zfs recorders music series -consort cds breukink walter van hauwe renaissance jeremias schwarzer krummhorn trio diritto shalmei cornetti baroque flute sopran

Sole agent for the USA: Tel: 1-860-364-5431 Magnamusic Distributors Inc., Fax: 1-860-364-5168 P.O. Box 338, [email protected] Sharon, CT 06069 www.magnamusic.com

EDITOR’S NOTE ______Volume XLIII, Number 3 May 2002

This issue of American Recorder is my 59th FEATURES and last. Counting covers, newsletters, The Recorder in Print: 2000 ...... 7 Members’ Library Editions, etc., it comes The annual update of recorder research that has appeared out to nearly 3,000 pages that have gone in print in other publications around the , through a succession of computers in my by David Lasocki office since March 1990. Although I have A New for Paul Godby ...... 16 relied over the years on a wonderfully tal- 4 A doctor who lost the use of his left hand ented group of contributing editors, writ- tries out a new made by Mollenhauer, ers, designers, artists, board members, and by Paul J. Godby, M.D. staff colleagues for a steady supply of stim- Writing for Recorder in a Contemporary ulating material, I would be remiss if I did- Lyric Style ...... 18 n’t give special thanks to Connie Primus The sixth in a series of articles by composers and arrangers (first Chapter News, later Music Reviews), discussing how they write and arrange music for recorder, Pete Rose (On the Cutting Edge), and by Stan McDaniel David Lasocki (see below), who have prob- 7 ably been individually responsible for more material in AR than any 10 other DEPARTMENTS writers combined. In his thirteenth review of material Advertiser Index ...... 36 about the recorder that has appeared in Chapters & Consorts ...... 31 other publications—a long-running fea- Classified ...... 36 ture if ever there were one—David Lasocki reports on an article by Anthony Rowland- Music Reviews...... 21 16 Jones (himself a valued contributor to Opening Measures ...... 33 these pages) about the origin of the didd’ll President’s Message ...... 3 tonguing supposedly introduced by Quantz. Pointing to the phrase “toodle ON THE COVER: Tidings ...... 4 loodle poope” (in connection with Illustration New Developments Using Recorder with Asthmatics recorder playing) in the mid-16th-centu- by ry play Ralph Roister Doister, Rowland- Jennifer Fidler The Recorder at the 2002 Berkeley Festival Jones compares this effect to the tongu- © 2002 Contributions 200-2001 ing syllables in Ganassi’s Fontegara (1535), noting, though, that Ganassi did not mention this kind of reverse tonguing, in which the first stroke is made by the tip BENJAMIN S. DUNHAM, Editor of the tongue and the return stroke is made Contributing Editors with the side of the tongue. True, but way FRANCES BLAKER, Beginners; SCOTT PATERSON, Book Reviews back in the dimming past, I seem to re- CAROLYN PESKIN, Q & A; CONSTANCE M. PRIMUS, Music Reviews member a discussion with Bob Marvin in EUGENE REICHENTHAL, Education; PETE ROSE, 20th-Century Performance which he suggested that Ganassi’s lere, lere GILLIAN KAHN, Design Consultant tonguing, when done rapidly, tends to transform itself into a tonguing sensation Advisory Board Martha Bixler • Valerie Horst • David Lasocki similar to didd’ll or toodle, not as sharply Bob Marvin • Howard Schott • Thomas Prescott • Catherine Turocy delineated but providing the same advan- Kenneth Wollitz tages for moving smoothly through rapid Copyright © 2002 American Recorder Society, Inc. passagework without chopping the pat- terns into little bits. Visit AR On-Line at: www.recorderonline.org American Recorder (ISSN: 0003-0724), 5554 S. Prince, Suite 128, Littleton, CO 80120, is published bimonthly (January, March, May, September, and On this note, perhaps I’d better wish November) for its members by the American Recorder Society, Inc. $20 of the annual $40 U.S. membership dues in the American Recorder Society is for a subscription to American Recorder. Articles, reviews, and letters to the editor reflect the viewpoint of their individual authors. Their appearance in this magazine does not imply official endorsement by the ARS. Submission of articles and photographs is welcomed. Articles may be typed or submitted on PC discs (Word my successor Gail Nickless good luck and for Windows, or RTF preferred) or as an attachment to an e-mail message. They should be for the exclusive consideration of AR, unless otherwise noted. sign off. And there’s no better way for the Photographs may be sent as color or black-and-white prints, or 300-dpi TIFF images. Advertisements may be sent in the PDF format, with fonts embedded. New Editorial office: Gail Nickless, Editor, American Recorder, 7770 South High St., Centennial, CO 80122; 303-794-0114 (phone & fax); editor of a recorder magazine to say good- [email protected]. Deadlines for editorial material: November 15 (January), January 15 (March), March 15 (May), July 15 (September), and September 15 (November). Books for review: Editorial office. Music for review: Constance M. Primus, Box 608, Georgetown, CO 80444. Recordings for review: Editorial office. Cutting Edge: Pete Rose, 13 Rutgers St., Maplewood, NJ 07040; [email protected]. Chapter newsletters and other bye than....tootle-oo! reports: Editorial office. Advertising: Steve DiLauro, LaRich & Associates, Inc., 15300 Pearl Road, Suite 112, Strongsville, OH 44136-5036; 440-238-5577; 440-572-2976 (fax); [email protected]. Advertising Closings: December 1 (January), February 1 (March), April 1 (May), August 1 (September), and Benjamin Dunham October 1 (November). Postmaster: Send address changes to American Recorder Society, Box 631, Littleton, CO 80160-0631. Periodicals postage paid at Littleton, CO, and at an additional mailing office. ARS Chapters

ALABAMA ILLINOIS Long Island: Margaret H. Brown Birmingham: Susan Roessel Chicago: Patrick O’Malley (516/765-1867) (256/247-1431) (773/293-3138) New York City: Michael Zumoff West Suburban: Christopher Culp (212/662-2946) AMERICAN ARIZONA (630/690-7304) Rochester: Marilyn Plain Phoenix: Donald Harrington RECORDER (602/956-1344) KANSAS (716/475-1453) L&L Early Music Ensemble: Liz Low Tucson: Scott Mason (520/721-0846) Rockland: Lorraine Schiller (845/429-8340) SOCIETY (913/727-3554) Westchester: Carol B. Leibman ARKANSAS INC LOUISIANA (914/241-3381) . Aeolus Konsort: Louise Rollefson Baton Rouge: John Waite Honorary President (501/225-4846) NORTH CAROLINA (225/925-0502) Bella Vista: Barbara McCoy Triangle: Cindy Osborne (919/851-1080) ERICH KATZ (1900-1973) New Orleans: Chris Alderman (501/855-6477) Honorary Vice President (504/862-0969) OHIO INIFRED AEGER W J CALIFORNIA MARYLAND Greater Cleveland: Edith Yerger Statement of Purpose Central Coast: Elisabeth Blake Northern Maryland: Tanya Torres (440/826-0716) (805/534-9414) The mission of the American Recorder Society is (410/821-8678) Toledo: Marilyn Perlmutter East Bay: Glen Shannon to promote the recorder and its music by (419/531-6259) (510/525-1249) MASSACHUSETTS developing resources and standards to help Boston: Sheila Bosworth Monterey Bay: Lorrie Emery OREGON people of all ages and ability levels to play and (978/263-9926) (831/423-8309) Oregon Coast: Corlu Collier Worcester Hills: Jennifer Southcott study the recorder, presenting the instrument North Coast: Kathleen Kinkela-Love (978/263-5875) (541/265-5910) to new constituencies, encouraging increased (707/822-8835) career opportunities for professional recorder Orange County: Doris Leffingwell MICHIGAN PENNSYLVANIA performers and teachers, and enabling and (949/494-9675) Ann Arbor: Ole Lundin Philadelphia: Dody Magaziner supporting recorder playing as a shared social Sacramento: Ronald Koetzsch 734/668-4842 (215/886-2241), or experience. Besides this journal, (916/965-1341) Kalamazoo: Chris Bartley Joanne Ford (215/844-8054) (616/341-4590) ARS publishes a newsletter, a personal study San Diego County: Carol Resnick Pittsburgh: Karen Lukas Metropolitan Detroit: Peter Lundell program, a directory, and special musical (619/466-7983) (412/731-7411) South Bay: Joanna Woodrow (248/542-9907) editions. Society members gather and play Western Michigan: Marge Winter (408/266-3993) RHODE ISLAND together at chapter meetings, weekend and (231/744-1703) Rhode Island: David Bojar summer workshops, and many ARS-sponsored Southern California: Lynne Snead (661/254-7922) MINNESOTA (401/944-3395) events throughout the year. In 2000, the Society Twin Cities: Jean Fagerstrom entered its seventh decade of service to its COLORADO (612/722-4967) TENNESSEE constituents. Boulder: Robert Keep (303/651-2659) Nashville: Marcus Mendenhall Colorado Springs: Richard Bradley MISSOURI (615/383-7078) Board of Directors (719/633-5683) St. Louis: Chris Langton John Nelson, President; Chair, Education Denver: (303/750-8460) (618/374-5208) TEXAS Richard Carbone, Vice President, Chair, Seniors Fort Collins: Jann Benson NEVADA Austin: Susan Page (512/467-7520) Sheila M. Fernekes, Secretary; Chair, Education (970/484-3522) Sierra Early Music Society: Karlene Dickey Dallas: Bill Patterson (214/696-4892) Ann Stickney, Treasurer Rio Grande: Suzanne Blanchard CONNECTICUT (775/832-9124) Rebecca Arkenberg, Chair, Publications (505/521-1725) Connecticut: Dorothy Vining Martha Bixler, Editor, Members’ Library NEW HAMPSHIRE (203/267-6513) Monadnock: Nancy Isaacs Frances Feldon VERMONT Eastern Connecticut: Joyce Goldberg (603/532-8328) Upper Valley: Barbara Prescott Cléa Galhano, Chair (860/442-8490) Upper Valley: Barbara Prescott (603/643-6442) Special Events/Professional Outreach (603/643-6442) Alan Karass, Chair, Chapters & Consorts DISTRICT OF COLUMBIA VIRGINIA Washington: Myrl Powell (301/587-4799), NEW JERSEY Carolyn Peskin, Chair, Scholarship Northern Virginia: Edward Friedler or Jane Takeuchi Udelson (703/369-3022) Bergen County: Mary Comins Sue Roessel, Chair, Junior Recorder Society (201/489-5695) (703/425-1324) János Ungváry DELAWARE Navesink: Lori Goldschmidt WASHINGTON Brandywine: Roger Matsumoto (732/747-4813) Priscilla Winslow, Counsel Moss Bay: Ralph Lusher (253/945-9732) (302/731-1430) Princeton: Carol Hoffman-Sweeten Staff (609/466-4685) Seattle: Kathleen Arends (425/649-9869) FLORIDA Gail Nickless, Executive Director Somerset Hills: Keith Bernstein Gainesville: Russell D. Moore WISCONSIN Renee Baier, Exec. Asst./Membership Secretary (908/722-6572) (352/378-0567) Milwaukee: Pat Brenckle P. O. Box 631 Miami: Zulema Garraffo (305/374-1879) NEW MEXICO (414/542-4551) Littleton, CO 80160-0631, U.S.A. Sarasota: Valerie Sizemore Albuquerque: Bryan Bingham Southern Wisconsin: Margaret Asquith 303-347-1120 (941/484-9589) (505/299-0052) (608/233-4441) Faxes & membership question hot line: Rio Grande: Suzanne Blanchard GEORGIA 303-347-1181 (505/521-1725) Atlanta: Ron Hancock Santa Fe: Jane Miller (505/984-0851) Toronto: Pat Hosack (416/487-9261) E-mail: [email protected] (404/633-2108) Web: www.americanrecorder.org NEW YORK Montreal: Mary McCutcheon In accordance with the Internal Revenue Service Taxpayer Bill of Rights 2, Buffalo: Charles Hall (514/271-6650) passed by the United States Congress in 1996, the American Recorder Hawaii: Irene Sakimoto (716/835-5573) Society makes freely available through its web site financial and (808/734-5909) Hudson Mohawk:Darleen Koreman Please contact the ARS office incorporation documents complying with that regulation. Big Island: Roger Baldwin (808/935-2306) (518/482-6023) to update chapter listings.

2 American Recorder PRESIDENT’S FOR INFORMATION ON: •More than 2,000 reviews of music ______MESSAGE new and old, printed and recorded ______•Articles on the recorder in history, its ______players, and ______performance practice A bridge to the future •Teaching ideas and practice tips RANSITION: my Norton/Grove Concise America magazine. Encyclopedia of Music defines it as “a Ben has done a lot for Tpassage which leads from one well-defined our magazine, greatly LOOK IN section of a piece to another, for instance expanding the range of THE INDEXES FOR the ‘bridge passage’ between the first and topics covered and tak- second subjects in sonata form.” Transi- ing the bold, howbeit AMERICAN RECORDER tion means change, and change is a fact of controversial, step of introducing modern CUMULATIVE INDEX FOR VOLS. I - our lives. We change houses, jobs, often art covers. As Ben moves into this new po- XXXX. Compiled by Scott Paterson. marriage partners; we buy new cars and sition, we express our sincere thanks to ARS members, $20 per copy new computers; we move to new locations him for all of his labors on behalf of the non-members, $32 per copy. for a variety of reasons. It has truly been Society. said that change is the one unchanging el- At the Board Meeting last January, we INDEX SUPPLEMENT, VOLS. XXXIV - ement in our lives. spent considerable time discussing the fu- XXXX. Compiled by Scott Paterson. For many of us, change can be terribly ture of the magazine and how we should go (for those who own the Cumulative threatening: we become so used to one about picking a new editor. In the end, the Index for Vols. I - XXXIII). way of doing things that the thought of try- board decided to offer the editorship of ARS members, $8 per copy ing something different is often resisted American Recorder to our current executive non-members, $14 per copy. beyond reason. More importantly, many of director, Gail Nickless. Gail has accepted the transitions in our lives cause stress, and will begin her tenure as editor with the Back Issues are available at the following and stress, if not relieved, can cause seri- September issue. prices (including postage). ous mental and physical problems. This I’ll have to confess to having mixed VOLS. V-XXVI (1964-1985): can be especially critical if you find yourself emotions about Gail’s move to the editor- 1 copy-$5; 2 copies-$8; 3-$11; 4-$14 in a position of leadership during a major ship of AR. During my time as President, I VOLS. XXVII-XLII (1986-2001): transition; if you do not feel competent to have come to depend on Gail in many 1 copy-$6; 2 copies-$10; 3-$14; 4-$18 deal with the demands that may be placed ways. I have appreciated her knowledge of Please inquire regarding availability of upon you, situations like this can be in- the Society and its history. I have always specific issues (including Vols. I-IV). credibly traumatic. been able to ask her for help when I was Please do not order issues not yet Many years ago, I found myself in just not sure how to proceed on various mat- published. Prices include postage. For such a situation. The church of which I was ters, and that help was always there. As I Canadian or foreign surface postage, then a member had a pastor who had been congratulate her on her new position, I please add an additional $1 per item. there for many years but who had lately be- want her to know that she will be missed as For Canadian or foreign air mail, please gun to shirk his pastoral duties. At the executive director. add an additional $3 per item. When time, I was lay president of the congrega- While this assures a smooth editorial ordering five or more items to be tion, and about halfway through my term transition for the magazine, it leaves the shipped to the same address at the same the pastor resigned under somewhat less board in a particularly tough position. We time, ARS members may deduct a than pleasant circumstances. As lay leader need a new executive director—soon. The further discount of $2 from the total. of the congregation, I was called on fre- process of searching for a new E.D. has be- quently to make decisions that I really did gun, with board member Carolyn Peskin not want to make and which, in fact, I felt serving as chair of the search committee. Need a copy of just one article? incompetent to make. We were still with- Applications are being evaluated and we Articles in American Recorder since out a pastor when my term as president hope to have someone in place by the first 1988 may be ordered through the fax- ended, and I can assure you that the relief of July. I wish that at this point I could give back service of The Uncover Company I felt in handing over the reins to someone you some good news about the search, but (http://uncweb.carl.org/). else was almost beyond belief. this is impossible. We can only hope that The American Recorder Society is now somewhere out there is a person with just going through a period of transition that the right mix of abilities to step in and take AMERICAN has the potential to create tensions of its over this very important position. Rest RECORDER own. Ben Dunham, editor of the American assured. We will let you know as soon as a SOCIETY Recorder for twelve years, has resigned to decision is made. Box 631, Littleton, CO 80160• 303-347-1120 take over the editorship of Early Music John Nelson

May 2002 3 ______TIDINGS At New York City’s Beth Israel Health Care System, ______Drs. Joanne Loewy and Zvi Ben Zvi are using recorders with ______children who have asthma as part of the children’s overall ______clinical management. The program is aimed at reducing stress, gaining control over breathing, and slowing breathing. Recorders and Asthma: New Developments

A follow-up report on using recorder playing to ameliorate the symptoms of asthma

For people with asthma, the benefits of tion time and children’s self-esteem. In methods. The types of professionals and learning to play the recorder are begin- Meade, Pennsylvania, Dr. Barry Bittman organizations that could be talking to ning to be more widely discovered. In incorporates recorders into similar pro- each other include: ARS, recorder teach- and outside the U. S., there are a number grams and also uses drumming. ers, music therapists, respiratory thera- of new programs in schools and medical Most of these programs, and a few pists, pulmonary clinicians, and advoca- settings that use wind instruments, espe- others I had found in 1995 through tra- cy groups for children and adults with cially recorders, to improve breathing ditional (non-Internet) literature search- respiratory illnesses. skills and bring joy (and applause) to es, seem to have arisen independently. If you have additional observations or children and adults with asthma and oth- We should be promoting their recogni- ideas, please send them to Judith Klotz er respiratory illnesses. tion. Perhaps ARS can arrange a forum by via e-mail, ([email protected]), the ad- About five years ago, ARS provided a which this exciting work can be shared dress listing in the ARS directory, or via small grant to my chapter, the Princeton among those doing it now and others the ARS office. Recorder Society, enabling me to write a who would like to use and adapt their Judith B. Klotz, DrPH grant for a demonstration project in New Jersey. At that time, there did not appear to be many places in the U.S. specifically teaching recorder to asthmatic children, although benefits had been demonstrat- ed and published in , especially the Czech Republic, for decades. Shortly thereafter, the University of Medicine and Dentistry of New Jersey gave me a small grant for a pilot project. (See AR January 1996, page 7, and March 1997, page 4). Several months ago, Susan Smolen of Vermont asked ARS about these pro- grams, and our discussions led me to cor- respond and speak with recorder teach- ers and others working with asthmatic children. Here are some examples of pro- grams I discovered: At New York City’s Beth Israel Health Care System, Drs. Joanne Loewy and Zvi Ben Zvi are using recorders with children who have asthma as part of the children’s overall clinical management. The pro- gram is aimed at reducing stress, gaining control over breathing, and slowing breathing. A scientific evaluation of its ef- In December, the annual Recorder Feast concert was held at Landmark Center in fectiveness is in progress and, hopefully, St. Paul, Minnesota, sponsored by the Schubert Club as part of their Courtroom will be published before too long. Concerts series. The program featured recorder music from all periods including In Nottingham, England, Emma several original arrangements. Recorderists included Lawrence Ducker, Beverly Coulthard is conducting a similar pro- Dretzke, John West, Alan Kolderie, and the Minnesota Dolce Recorder Consort gram, using spirometry (clinical breath- (Cammy Carteng, Larry Tempel, Greg Smith, Judy Mason, Brad Wright). The ing evaluation instruments) to measure program concluded with the world premiere of “Forlane” from Le Tombeau de increases in children’s controlled exhala- Couperin by Ravel as arranged by Mr. Kolderie for 7 recorders and clarinet.

4 American Recorder Bits & Pieces THE RECORDER AT THE 2002 BERKELEY FESTIVAL On March 22 in Los Angeles, Judith Lin- Sunday, June 2 senberg gave the U.S. premiere of the Vi- 4 p.m. BAROQUE ETCETERA. Bach Cantata No. 78, “Jesu der du meine Seele”; valdi flautino concerto, RV312R (recently world premiere of Glen Shannon’s Recorder No. 2, “Wanderlust” reconstructed by Jean Cassignol) with the (winner, 2001 Chicago Chapter Composition Contest); and other works. Musica Angelica Baroque di- Loper Chapel, First Congregational Church, 2345 Channing Way at Dana. rected by Michael Eagan. Beverly Hills Out- (Tickets $10; Info: [email protected]) look called it “....a jaw-dropping perform- Wednesday, June 5 ance.” She’ll play the work again in Octo- 2 p.m. CONCERT: Letitia Berlin, recorder, Shira Kammen, and , Julie Jeffrey, da gamba, and Peter Maund, percussion. International House, ber with the Seattle Baroque Orchestra. 2299 Piedmont Avenue. (Info: 510-559-4670) The Belladonna Baroque Quartet Thursday, June 6 (Margaret Humphrey, ; Cléa Gal- 8 p.m. MUSICA PACIFICA, FEATURING RECORDERIST JUDITH LINSENBERG, with hano, recorder; Rebecca Humphrey, guest dancers Linda Tomko, Marie-Nathalie Lacoursière & Edgar Tumak. and Barbara Weiss, ) gave “Crossing the Channel: Airs and Dances from Baroque and England”; their New York debut at Merkin Hall on works by Campra, Paisible, Handel, Destouches, Lully, Purcell, Rameau, and others, with virtuoso choreography in period-style costumes. Hertz Hall, November 8, 2001. Writing in Strad Mag- Bancroft Way at College Avenue. (Tickets $24 from Cal Performances; azine, Dennis D. Rooney said: “the co-sponsored with San Francisco Early Music Society) group’s experience was evidenced by its Friday, June 7 comfortable manner and assured ensem- 9:30 a.m.-12 p.m. TENTH ANNUAL ARS GREAT RECORDER RELAY: Vignette recitals by ble.” Harris Goldsmith wrote in the New professional recorder soloists, showing the many possible types of music York Concert Review that the players “gave featuring recorder: Jody Miller (Stone Mountain, GA); Eileen Hadidian (Albany, CA); Sarah Cantor (Cambridge, MA); Tom Bickley (Berkeley, CA); an admirable account of themselves.” Frances Feldon (Berkeley, CA). Loper Chapel, First Congregational Church, Early Music America will award its 2345 Channing Way at Dana. (Admission free; sponsored by the ARS) Howard Mayer Brown Award for lifetime 12:30-2 p.m. LUNCH DISCUSSION OF ISSUES FACING CHAPTERS TODAY: Informal achievement to choral conductor and mu- roundtable with chapter leaders, ARS Board and staff. Location TBA. (ARS sicologist Philip Brett, recently appoint- Chapter Leaders $5/person for meal, pay to ARS; sponsored by the ARS) ed professor of musicology at UCLA, and Saturday, June 8 its Thomas Binkley Award 10 a.m. RECORDER TODAY: Demonstration by the American Recorder Orchestra of the West, Richard Geisler, director, followed by a panel discussion for outstanding collegium moderated by Peter Seibert with Mr. Geisler and Frederic Palmer (other director to Gerald Hoek- participants TBA). Choral Hall, Cesar Chavez Student Center, Lower stra, professor of music his- Sproul Plaza, UC-Berkeley. (Admission free; sponsored by the ARS) tory-literature and director 1 p.m. EAST BAY JUNIOR RECORDER SOCIETY. St. Joseph of Arimathea Church, of the collegium and the 2316 Bowditch at Durant. (Info: 510-559-4670) Early Music Singers at St. Olaf College, 3 p.m. MARION VERBRUGGEN, RECORDERS, Arthur Haas, harpsichord, and Mary Springfels, viola da gamba. Hertz Hall. A program of Spanish and Italian Northfield, Minnesota. by Ortiz, de Selma, Rognoni, Dieupart, Marais, Corelli, Bach, and For many years associated with UC others. (Tickets $28 from Cal Performances; co-sponsored with Early Music Berkeley, where he was head of the music America and the ARS) department and conductor of the Univer- RECEPTION. After Ms. Verbruggen’s recital, all are cordially invited to come sity Chamber Chorus, Brett, a graduate of outside on the patio to honor ARS Distinguished Achievement Award recipient Valerie Horst. Hertz Hall. (Admission free; sponsored by the ARS) King’s College, Cambridge, Sunday, June 9 England, specializes in Eng- 2 p.m. FARALLON RECORDER QUARTET. St. Joseph of Arimathea Church, 2316 lish music, editing and textu- Bowditch at Durant. (Info: 510-559-4670) al criticism, early music per- Yet to be scheduled: formance, and gay and les- MASTER CLASS WITH MARION VERBRUGGEN. (Auditors’ admission charge bian studies. As a performer, $5 payable at the event) Brett has won the Noah Greenberg Award BASS-OFF, an “A415 Baroque Bass Comparathon” demonstrating various bass of the American Musicological Society and recorders, details TBA. Auditors welcome. (Info: 408-734-2484) is co-founder of its Gay and Lesbian Study Also: Group. For information about ARS-sponsored activities, call or e-mail the ARS office. An updated schedule of recorder events will be posted on the ARS web site and available at the ARS The awards will be given on Saturday, TABLE, Wednesday-Saturday, June 5-8, 11 a.m.-5 p.m., in the Festival Exhibition (organized June 8, at an EMA members reception by Early Music America). Zellerbach Hall, Bancroft Way at Dana. during the Berkeley Festival. Also contact the ARS office if you can volunteer to help at an ARS event. Jessica Leal, 12, and Whitley Gastil, The FESTIVAL INFORMATION CENTER will be open 9 a.m.-5 p.m. weekdays in the 10, raised $300 for the relief of Afghan Zellerbach Hall Lobby, and will have updated event information. For general Berkeley children by playing Christmas music on Festival information and tickets, call Cal Performances, 510-642-9988, or visit the festival their recorders at crafts fairs and private web site at . Free brochure available. For information about Fringe parties in Auburn and Sonora, California. events, call San Francisco Early Music Society, 510-528-1725, or visit their web site at “My cousin and I thought that President . Bush’s request for $1 wasn’t enough to THIS LISTING OF EVENTS WAS PREPARED BY THE AMERICAN RECORDER SOCIETY BASED ON EVENTS LISTED BY THE buy anyone anything,” Leal said. BERKELEY FESTIVAL, SAN FRANCISCO EARLY MUSIC SOCIETY, AND ARS SOURCES.

May 2002 5 CONTRIBUTIONS 2001-2002 The Board of Directors of the American Recorder Society expresses its sincere appreciation to the following contributors to ARS during 2001-2002. Contributions to the President’s Appeal are used to support many of the Society’s ongoing special programs that could not exist using only membership dues. Contributions to A.R.S. Nova 2000 are used to create a capital fund for the underwriting of long-term goals.

BENEFACTORS Emmy Grubb Daniel J. Morris Geoffrey E. King Michael Zumoff & Judith Helen Hermes Wayne & Gail Nickless Ruth Kress Carolyn Peskin Wink James Heup Marilyn T. Oberst Peter J. Kwiatek Mary P. Johnson Louise M. Piranian Phoebe E. Larkey SPONSORS Kay Jones Sally Popkin Philip Lashinsky Cléa Galhano John Nelson Celine Karraker David M. Regen Boz Lincoln Lynn Shackleford Carolyn N. Peskin Alan King Patsy Rogers Janet A. Maddams Constance M. Primus Peggy Leiby Georgiana K. Rudge Ruth H. Manchester VOLUNTEERS IN Dennis Leipold & David P. Ruhl Mary E. Marquardt DONORS Jane Shear Abraham A. Santiago Jr. Donald H. Martins RESIDENCE AT THE George W. Comstock Robert D. Lisk Linda Sax Jean McNeil ARS OFFICE AND Raphe & Pat LaBauve Mary Ann Malinowski Naomi Shiff ASSISTING IN Douglas Martz Maryann Miller Frank B. Stearns Donna Messer OTHER CAPACITIES Polly Dewees Moffett Israel Stein Irmi Miller PATRONS Barry R. Moyer Sally L. Taylor Lola Mitchell Anne Chetham-Strode Hank Anderson Suzanne Niedzielska David K. Trubey Gerald L. & Benjamin Dunham David M. Barnert Sarah A. Peterson Mayneal Wayland Barbara Moore Doris Grall Martha Bixler & Richard Hillyer Rudisill III Richard L. Weber Kelly C. Moore Harpsichord Clearing Sacksteder Marie-Louise A. Smith Janet F. Welsh Scott Paterson House Margaret H. Brown Monte Swartzman Janice H. Williams Amanda Pond Richard Hureau Harry Cagin Helen R. Thornton Larry Zukof & Eugene Reichenthal Alan Kolderie Nancy G. Cobb Judith I. Whaley Pamela Carley Jean Ridley Susan Lowenkron Mary B. Conley Rosemary Whitaker Judah L. Rosner Michael Lynn J. Christopher Doran Joan B. Wilson OTHERS Herbert & Mollie Elan Dresher Don & Shelley Wold Joan Antell Rubenstein Angela Mariani Benjamin S. Dunham Rosanne S. Batt Jack Schweitzer Lise McGuire Lewis T. Fitch FRIENDS Daniel R. Bechtel Susan Silverman Alison Melville Nancy G. Frederick Joann M. Anselone Charlotte Bedford Katherine Sinclair Jody Miller & McCleskey Martha Jane Gardiner Beatrice A. Asken Jann Benson Deborah D. Slade Middle School (in memory of Louise F. Austin Douglas E. & Judith Smutek Recorder Ensemble Andrew Acs) Ann E. Barclay Rovner Cynthia A. Bittner Lynne Snead Adila S. Goldman Mary G. Blocher Elisabeth A. Blake Bruce Nelson Charles Hall Richard C. Bradley Sara Boomer Dinah M. Sours Charlotte Newman IBM Brita Cappel Beatrice Brewster Sandra V. Steacy Wayne Nickless Lawrence L. Johnson Richard Carbone Elizabeth D. Brownell Leslie Jane Timmons Marilyn Perlmutter Barbara H. Matsinger Earl Curtis Karen W. Burnett Kathleen G. Todd Louise Rollefson, Shelley Nelson Research Richard M. Eastman Shirley Coon Laszlo Varga Wold & Aeolus Keigo Watanabe Patricia Petersen & Hope Ehn Frances & Donald Recorder Konsort Douglas Young Una Ellman Courtsal Priscilla & John Watson (Central Arkansas Wendy Powers Michael & Cathy Emptage Irene Cowley Katherine White John B. Price, Jr. Sandra C. Ferguson Karen Crotty Marguerite Winter Chapter-ARS) Bill & Eileen Rees Michael C. Finn John Dart Ted & Gail Rother Susan Roessel Mary Ann Franson Robert F. DeCelle ANONYMOUS Erica Shupp & Shupp Neil & Elizabeth Seely Barbara H. Frei Frederick Denny 3 Donors Artists Management Karen Snowberg Mickey Gillmor Miles G. Doolittle John Tyson & New Garrett Webb GlaxoSmithKline John R. Ebel DONATIONS TO THE England Conservatory Preston Lea Wilds Shelley Gruskin Cara Friedman ENDOWMENT IN Cèsar Villavicencio Priscilla Wright A. Carolla Haglund Cléa Galhano MEMORY OF Nikolaus von Huene, Joyce B. Henry Diana R. Gay ANDREW ACS SUPPORTERS Leslie N. Hollister Joyce V. Goldberg Ingeborg von Huene Hedda & George Acs Neale Ainsfield Mary S. Jaffe Alexis Gorin and the Von Huene Laurie G. Alberts Carla H. Kaatz Thomas A. Green Workshop A.R.S. NOVA 2000 Marcia J. Anderson Barbara Kaufman Bernadette Hanford Charles Wibiralske & DONATIONS FOR Tony R. Auby Sr. Ruth Laage William R. Hull Boston Recorder 2001-02 Mary Bennett Peter & Carolyn Larson Richard A. Hureau Society Ruth S. Bossler Miriam Laster Ruthann Janney Donn E. Bowers Ursula Lerse John Hancock Financial TENOR Katherine Bracher Lia Starer Services, Inc. Patricia Petersen & Contributions received Stephen G. Carl Nancy Lifland R.L. & S.T. Kaetzel Doug Young through March 15, 2002. David W. Fischer Arthur & Sue Lloyd Alan Karass Patsy Rogers The ARS apologizes for any Elaine Gobstein Fernando Marques C. Ann Kelsey Israel Stein inadvertent omissions. THE IN PRINT: 2000 WHAT’S BEEN WRITTEN ABOUT THE RECORDER IN OTHER PUBLICATIONS AROUND THE WORLD by David Lasocki This report, the thirteenth in a A new recorder magazine minstrel, or this particular instrument Since its start in November 2000, Cin- played by a minstrel. “Einige Überlegun- series, covers books and articles namon Sticks, edited by Zana Clarke and gen zum Begriff Recorder,” Tibia 25, no. 2 published in 2000 that advance Caroline Downer, has unofficially taken (2000): 89–97. our knowledge of the recorder, over from the Australian recorder maga- Two authors look at the history of the its makers and players, its zine published by the Victorian Recorder recorder consort from different aspects. Guild and is continuing its friendly mix of In Bart Spanhove’s book on ensemble performance practice and short articles, interviews, reviews, and playing, my own article has this summa- technique, its repertory, and its news. The theme of the cute title is con- ry: “Before the twentieth century, the his- depiction in works of art in the tinued in each issue by a recipe involving tory of the recorder ensemble has to be cinnamon and a suggestion of recorder pieced together from several kinds of evi- past or present. To save space, music to listen to while eating the dish in dence: paintings that seem to depict real- articles that appeared in question. Cinnamon Sticks: The Recorder istic ensembles, treatises on instruments, American Recorder are in Australasia. First year, one issue; sec- documents about professional musi- omitted. A few previously ond year, two issues. P.O. Box 1363, cians, inventories of instrument collec- Armidale NSW 2350, ; www.or- tions, stage directions in plays, and a rel- unreported items from earlier pheusmusic.com.au. atively small number of compositions. years are also included. The The evidence that has survived is surely author asks if readers could let History the tip of the proverbial iceberg. Never- him know (c/o American Anthony Rowland-Jones revisits Brian theless, it strongly suggests that recorders Trowell’s famous citation of the “i. fistula were played in ensembles practically Recorder) of significant items nomine Ricordo” in the accounts of the from the invention of the instrument in he may have overlooked. Earl of Derby (the future Henry IV) in the 14th century right through to the end Readers can obtain most items 1388. Going back to the original ac- of the eighteenth century, continuing in counts, Rowland-Jones shows that the the nineteenth century with at least duets through libraries (either in word for the instrument there was actual- of that keyed recorder known as the person at a large music library ly “Recordour,” one of several early csakan. The twentieth-century revival of or from their local library spellings for recorder (see title above). the earlier types of recorder has seen an via interlibrary loan). Thus Trowell’s theory about it meaning a unprecedented flourishing of recorder keepsake or memento is untenable. Row- ensembles, largely among amateurs, with land-Jones continues by suggesting that the foundation of some significant pro- the capital letter and the wording “a flute fessional groups towards the end of the named recorder” imply that the name, century, and a vast enrichment of the and presumably the instrument, were recorder ensemble literature.” “A Short new to the language. The instrument was History of the Recorder Ensemble,”in bought in London and charged to Hen- Bart Spanhove, The Finishing Touch of En- ry’s “necessaries,” apparently for his do- semble Playing, A Flanders Recorder mestic music-making, at the high cost of Quartet Guide for Recorder Players and 3s 4d (about 100 hours’ pay for a laborer). Teachers (Peer, Belgium: Alamire, 2000), Since it had an English name, it may well 53–62. have been made in London rather than Peter Thalheimer, on the other hand, imported from the Continent. When all is looks at the history of the recorder said and done, despite Rowland-Jones’s “Stimmwerk,” an old German word that concluding ruminations, the most likely means something like consort: a group of origin of the term “recorder” is the verb similarly made instruments of various “to record,” meaning “to remember for sizes and registers. The history involves oneself, to recall to another”; thus a constantly shifting groupings of recorders recorder was a rememberer, a relater, a a fourth or a fifth (or both) apart. The ear-

May 2002 7 the 20th century. It begins with a chapter THE IN PRINT on “European precursors”: England (the Dolmetsch family, Edgar Hunt, the founding of the Society of Recorder Play- ers, the association of the recorder with liest source, Virdung (1511), mentions amateurs) and (Peter Harlan, three sizes of recorder a fifth apart (f, c', German fingering, Der Blockflöten- g'); using different clefs, the performer Spiegel, the Youth Movement). The sec- can play these sizes with identical finger- ond chapter covers the beginnings of the ings. Cardanus (ca. 1546) added a recorder revival in France in the 1930s recorder a fifth higher (d''). Praetorius (methods by Angèle Ravizé, Victor (1619) reported an extended consort, Delfolie, and D. Aeschimann; music for with a recorder a fifth lower (B ) and oc- home and school). Then we learn about tave doublings below and above other the “first recognition” of the recorder dur- sizes, thus in effect mixing separation of ing the period 1950–70 (the early music fourths and fifths (e.g., c'', an group of Roger Cotte; the educational above c', is a fourth above g'). Mersenne work of Jean Henry; further methods; the (1636) compared the high and low quar- first recorder maker, Claude Monin; tets (which have the f instrument in com- recorder music by Gaston Saux and mon) to the high and low registers of an Georges Migot; the first soloists, Pierre organ. In the late 17th century, recorders Paubon, Michel Sanvoisin, Nicole Millot; in f', g', and c'' were common (occasional- the first conservatory class, with Jean- ly also f'', c', d', and f); while the early 18th François Alizon). An interlude deals with century made use of recorders in f', c'', developments in the early music and and d''. In the 20th century, all these sizes recorder movements outside France dur- Peter Thalheimer points have been reconstructed as well as ex- ing the same period, especially the influ- tended upwards (f''') and downwards (C), ence of Frans Brüggen and the “Dutch out the problem of trying to and some forays have been made in un- school” (Walter van Hauwe is quoted as reconstruct the flautino usual directions. “In Quinten und Quar- saying that he hates the term). This leads ten. Zur Geschichte des Blockflöten- into new developments in France: the part of Vivaldi’s Concerto stimmwerks,” Tibia 25, no. 1 (2000): first international summer schools; new 16–24. French players such as Hugo Reyne and in G, RV 312: in the first Nikolaj Tarasov’s researches are begin- Sébastien Marq; new methods. And final- movement, when Vivaldi ning to revolutionize our views of duct ly, there is a chapter on the “years of glo- in the 19th century. His latest arti- ry” (1970s and 80s): the founding of the converted his flautino part cle looks at Ludwig van Beethoven’s rela- Association Française pour la Flûte à Bec into a violin part, if it did tionship to duct flutes. First he discusses (AFFB); classes in several conservatories; the terse references to both the csakan the first recorder manufacturer, Adège; not lie well on the violin, and three of its players (Ernest Krähmer, avant-garde repertory; and the involve- Joseph Sellner, Wilhelm Klingenbrunner) ment of recorder players in the French he simply composed a new in Beethoven’s conversation books. Then productions conducted by William melody on the same bass. he sets out the evidence for Beethoven Christie. Beverly Barbey, who wrote the having owned a cane csakan, and shows preface, was a student of Edgar Hunt’s “No arranger today would, that the reference to an arrangement of who, under her maiden name Smith, the composer’s Wellington’s Siege for flute played an important role in the French for good reasons, take or csakan in 1820 was a joke. He also re- recorder movement of the 1960s. XXème such freedom.” ports his discovery of a famous minuet of siècle et flûte à bec: Sa redécouverte en Beethoven’s (written for the piano sonata France; préface de Beverly Barbey (Bourg- Op. 49, no. 2) arranged for csakan and la-Reine, France: Editions Aug. Zurfluh, in 1820 and mentions in a post- 1998). script his further discovery of a collection of Beethoven’s music for the same combi- Repertoire nation and published by Anton Diabelli. Peter Thalheimer discusses the impli- “Neues von Beethoven: Csakan- cations of Jean Cassignol’s “discovery” of Recherchen in Beethovens Konversation- a concerto that Vivaldi originally intend- sheften. 1. Teil,” Windkanal 3/2000, ed for the flautino (see Nikolaj Tarasov’s 6–10; “Neues von Beethoven: Csakan- article in AR, March 2000). He points out Recherchen beim großen Wiener Klassik- the problem of trying to reconstruct the er. 2. Teil,” Windkanal 4/2000, 6–9. flautino part: in the first movement, when Cécile Robert’s new book, which ap- Vivaldi converted his flautino part into a parently originated as a thesis, is actually violin part, if it did not lie well on the vio- a short history of the recorder in France in lin, he simply composed a new melody

8 American Recorder on the same bass. “No arranger today would, for good reasons, take such Tarasov discusses the freedom.” The solo flautino part went terse references to both from notated g' to e'''; in the tutti sec- tions it goes down to f ' and d'; and the csakan and three of in the last solo section Vivaldi origi- its players (Ernest nally even wrote an f ''' (a note that is found in no other Vivaldi flautino Krähmer, Joseph part). This information does noth- ing to shed light on the identity of Sellner, Wilhelm Vivaldi’s flautino. In any case, the Klingenbrunner) manuscript bears no instruction about transposition of the part. A revised ver- in Beethoven’s sion of a Vivaldi aria with a flautino part refers to a difference of conversation books. a semitone in pitch Then he sets out (again unhelpful for the identity of the instru- the evidence for ment). Thalheimer’s ar- ticle ends with the com- Beethoven forting (?) words of the having owned Taoist master Chuang Tsu: “No one is farther a cane csakan. from the truth than the one who knows all the answers.” “Ein weiteres Flautino-Konzert von Vivaldi?” Tibia 25, no. 3 (2000): published 12 sonatas for 209–10; see also Karsten Erik Ose, recorder or violin in Amster- “Neue entdeckte Flöten-Lust: Vivaldis dam around 1730 (not ex- ‘Concerto in G’ nach RV 312 für Flautino, tant). Works of Handel’s were 2 Violinen, Viola und B.c.,” Concerto: das performed on the “little flute” Magazin für Alte Musik no. 153 (May in London in the 1720s and 2000): 9. 30s. A contemporaneous In 1988, Thalheimer published an arrangement of Handel’s edition of a flauto concerto attrib- Concerto Grosso, Op. 3, No. uted to Handel in a Rostock manuscript. 3, for flute and strings may Although Bernd Baselt included it among well have been intended for a the doubtful works in his catalog of Han- small recorder. Still, the ques- del’s works (HWV), Thalheimer argued tion, Handel or Montenari, in his preface that an English provenance must remain open. “Spuren- was probable and Handel’s authorship suche im Repertoire für ‘flau- was not out of the question. Since then to piccolo’: Händel oder further evidence has turned up. The Ros- Montenari?—das ist hier die tock collection originally belonged to Frage...,” Windkanal 2/2000, Friedrich Ludwig, Prince-Bishop of Würt- 6–10. temberg (1698–1731), who was a flutist In a third article, Thal- and perhaps even a recorder player. The heimer begins by citing Dietz collection contains other works with Degen’s oft-quoted opinion links to England, including the famous (Zur Geschichte der Blockflöte case of the concertos attributed to Loeil- in den germanischen Ländern, let that were published under Wood- 1936) that the recorder died cock’s name (see the article by Lasocki out in the middle of the 18th and Neate in AR, August 1988), and an century, being replaced by oboe concerto by Handel that Baselt con- the flute. But he also cites De- sidered authentic enough to give an HWV gen’s lesser-known opinion number (287). In the Breitkopf catalog of that, judging by the number 1763, the Rostock flauto piccolo concerto of surviving examples, the is ascribed to one Montenari, perhaps the csakan must have been “not same man as Francesco Montenari, who at all uncommon” in the 19th

A cane csakan of the kind Nikolaj Tarasov believes Beethoven owned, as illustrated in Windkanal.

May 2002 9 sources of my analyses of motives in the charming details of which are revealed in THE IN PRINT D minor and F major sonatas), or else a a second article with a similar title to the charge of plagiarism could be leveled. It is first. In searching for an unpublished a shame that the editors of the journal did suite for recorder, violin, cello, and harp- not alert her to the appropriate scholarly sichord by Gordon Jacob, which Dol- century. Thalheimer then proceeds to procedure. The worthwhile original con- metsch had first performed in 1983, show that, indeed, the csakan was more tributions that she does make are some Mayes discovered that it was actually a widespread than we have thought. He commentary on the musical qualities of piece titled “Trifles,” which Jacob had covers: csakan history (with photographs the sonatas, a comprehensive bibliogra- sent Dolmetsch in 1971. For the pre- of three main types); the rediscovery of phy of editions, and a similarly compre- miere, Dolmetsch had changed the title the csakan repertoire in the 1960s; Mari- hensive discography with an index of per- and discarded Jacob’s cute titles for the anne Betz’s book (Der Czakan und seine formers. “Las sonatas para flauta de pico four movements (three of them about the Musik, 1992) and especially its repertoire y bajo continuo de G.F. Haendel,” Revista British dessert called trifle), perhaps con- list; how to transpose csakan music for de flauto de pico no. 15 (2000): 13–22; no. sidering them “at odds with the music it- the recorder; modern csakan copies; and 16 (2000): 17–28. self, and not entirely suitable for the Wig- the need to make a lot more of the csakan Peter Holman has written a fine evalu- more Hall.” In a third article, Mayes tells repertoire available in modern editions, ative bibliographic essay on recorder mu- this story in more detail, then analyzes especially for practice in the Classical and sic in England in the late Baroque period, the work, which was published in 2000 Romantic styles. He concludes with a list discussing original sources as well as by Emerson Edition. “Carl Dolmetsch of csakan music in modern editions. modern editions and facsimiles. The bib- and the Recorder Repertoire of the Twen- “Csakan-Musik—eine Nische im heuti- liography is divided into: early vocal mu- tieth Century,” Cinnamon Sticks 2, no. 2 gen Blockflötenrepertoire,” Tibia 25, no. sic, later vocal music, theater music, un- (November 2001): 10–15; “Carl Dol- 4 (2000): 288–95. accompanied music, duets, pieces for metsch and the Recorder Repertory in the María Martínez Ayerza’s long article recorder and basso continuo, trio 20th Century,” The Consort 56 (summer on Handel’s recorder sonatas is said to sonatas, chamber music for more than 2000): 52–55; “Gordon Jacob’s ‘Trifles,’” “come from a student paper for a course three parts, and concertos. “Recorder Recorder Magazine 20, no. 4 (Winter on the recorder at the Seville Conservato- Music in England c1680–1730,” Early 2000): 136–39. ry.” As a term paper with a self-educa- Music Performer no. 4 (Winter Wilfrid Mellers, who is known prima- tional purpose, it constitutes a fair sum- 1999–2000): 10–14. rily as a prolific, highly literate, and rather mary of the background of these celebrat- Turning to England in the 20th centu- audacious music historian and critic, was ed sonatas, which should prove useful to ry, an article by Andrew Mayes gives us also a prolific composer from the 1940s the Spanish-speaking audience for whom what is presumably a foretaste of the through the 1970s. Among his works are it is now published. Unfortunately, the book he is writing on the recorder works four chamber compositions that feature author apparently does not realize that a commissioned by Carl Dolmetsch for his the recorder and two works for children’s published article must give full credit to annual concerts at the Wigmore Hall, chorus accompanied by an ensemble in- all its sources, which are mostly an edi- London, or dedicated to him. Mayes in- cluding recorder. John Turner, that tire- tion and several articles by myself (with troduces this repertoire, and Dolmetsch’s less promoter of modern English recorder extra material from Terence Best and performances of it, enlivened by quota- music, gives a fascinating introductory Klaus Hoffman). When so much is taken tions from correspondence in the Dol- biography of Mellers followed by style from other authors, three footnotes for metsch archives. During the course of re- analyses of the works. The article con- points in the article simply do not suffice: searching the book, he made several trips cludes with several charming paragraphs all the material used must be acknowl- to Haslemere to work with manuscripts by Mellers offering background to his edged (including, for example, the and letters in the Dolmetsch library, some work with the recorder; I particularly liked his support for ’s music over “the hegemony of Schoenbergian se- rialism.” “The Recorder Music of Wilfrid Mellers: A Catalogue and Description,” Recorder Magazine 20, no. 3 (Autumn 2000): 93–101. Turner has also written a charming ap- preciation of the composer Thomas Pit- field, who died in 2000 aged 96. Pitfield was a “character,” as they say in the north of England—a pacifist and vegetarian, a painter and graphic artist of distinction, a writer of limericks and nonsense verse, as well as a self-taught composer who wrote

The conposer-critic Wilfrid Mellers, as photographed by John Turner in The Recorder Magazine.

10 American Recorder recorder works for Turner, Carl Dol- metsch, and others. “Thomas Pitfield— An Appreciation,” The Recorder Magazine 20, no. 1 (Spring 2000): 3–4. Peter Bowman describes his work (with his wife, Kathryn Bennetts) on commissioning and performing a pro- gram of “electro-acoustic” music for the 2000 ERTA conference. It generated three compositions for two recorders and electronically generated sound: Duplica- tor by Vítor Rua, Pertaining to Trees by Ge- off Cox, and Tricorder by Mark Bromwich, with more on the way. “The Electro- Acoustic Recorder,” Recorder Magazine 20, no. 3 (Autumn 2000): 103–04. The German recorder quartet Four Wheel Drive made a kind of musical col- lage from the 16th-century chorale “Aus tiefer Not” and Ryohei Hirose’s Lamenta- tion (1975). One of their members, Heida Vissing, discusses their own and the pub- lic’s reaction to the piece, then ends with thoughts on collages. “Eine Werkcollage alter & neuer Musik,” Windkanal 2/2000, 27–29. ter-Tone Recorder Manual and in their En- Donald Bousted, left, with interpreters Gerhard Braun considers the six stud- semble QTR. “My Music and the Kathryn Bennetts and Peter Bowman. ies in Martin Gümbel’s Flötenstories “a Recorder,” Cinnamon Sticks 1, no. 1 (No- good introduction to the playing tech- vember 2000): 14–17. this advice to heart. When they sent the nique and expressive possibilities of the Caroline Downer briefly describes the CD to Sieg, however, he told them that recorder in contemporary music” and career and approach of the young New their relatively short articulations in no therefore suitable for “young players with Zealand composer Gareth Farr, with a way corresponded to his intentions. Over good skills in traditional ways of playing.” paragraph on his recorder trio (1992). the phone, singing and playing the flute, He describes the technical features of the “Gareth Farr,” Cinnamon Sticks 2, no. 1 he demonstrated to them what he want- pieces and gives a sample page. “Martin (May 2001): 26–27. ed—varied articulations that made the Gümbel: Flötenstories für 3 Blockflöten The German word “” piece “more melodically and rhythmical- gleicher Stimmlage, Satz I, III und IV, Edi- meant a kind of ballad made by using par- ly fluent.” Then they learned the piece tion Moeck Nr. 2504,” Tibia 25, no. 2 ody texts with popular Singspiel or opera again.... The article describes and illus- (2000): v–vii (Die gelbe Seite). melodies. But Werner Heider seems to trates the composer’s ideas on articula- Of the English composer Donald have had street musicians and their mu- tion for each movement. Irmhild Beutler Bousted’s 38 compositions, no fewer sic in mind when he wrote a piece of that and Sylvia C. Rosin, “Artikulation in than 16 have been written for recorders: title in 1984 for and Sören Siegs pina ya phala, oder, Warum “solos, duos, a piece for the electro- small drum. It combines elements of art wir die Afrikanische Suite Nr. 2 zweimal acoustic recorder of Philippe Bolton, a music and folk music, as well as com- einspielten...,” Tibia 25, no. 1 (2000): i-iv concerto for two recorders and strings or- ments that the musicians might make to (Die gelbe Seite). chestra and, most recently, a piece for two their audience (“Did you like that”). Ger- recorders, tape and video projection.” Al- hard Braun analyzes the piece, which he Performance practice and notation though his works are unified by his inter- believes “now belongs to the standard Peter Holman and Richard Maunder, est in rhythmic structural relationships repertoire for recorder and percussion.” using examples that include the recorder and an emphasis on scales, his recorder “‘G’fällt euch das?’: Einige Bemerkungen concertos by Babell, Baston, and Wood- music differs from his other music in be- zu Werner Heiders Gassenhauer für So- cock, show that in England, at least in the ing mostly microtonal. Bousted has pranblockflöte (oder Piccoloflöte) und first half of the 18th century, the accom- “come to believe, in the course of this kleine Trommel,” Tibia 25, no. 1 (2000): paniments of concertos were generally work, that the recorder has unique po- 33–36. played one to a part (including ripieno tential as a microtonal instrument and Sören Sieg’s second African suite, en- parts). In the solo sections, the accompa- that it is, at least through the central part titled pina ya phala (1995), was per- niment could be reduced to single violin of its range, only limited in its capacity for formed by the Ensemble Dreiklang Berlin parts, even in such later works as the alternative tuning systems by the aural [Berlin triad ensemble] on their CD Sammartini recorder concerto (1740s?). and technical ability of the player.” He de- “Chips ‘n’ Chocolate.” In his preface, the “The of Concertos in scribes some of his recorder composi- composer had written that the piece re- Eighteenth-Century England,” Early Mu- tions, as well as his work with Peter Bow- quired “a rhythmically precise and lively sic 28, no. 4 (November 2000): 637–50. man and Kathryn Bennetts on The Quar- non-legato style of playing.” The trio took The German recorder player Matthias

May 2002 11 numeric from 1–8, and numeric from THE IN PRINT 0–7) and offers a table showing how eight composers would notate the same finger- ing, coming out in favor of numeric nota- tion because it is easier to read at speed Maute introduces the principles of rheto- and can more readily show glissandos, ric, followed by a rhetorical analysis of the trills, and tremolos. He also sees more second movement of Telemann’s third logic in assigning 0 (rather than 1) to the Methodical Sonata in E minor (“which left thumb and 4 (rather than 5) to the left can be played well on a tenor or soprano right-hand finger. Finally, he makes a plea recorder”). “Rhetorik in der Musik des to standardize other aspects of notation. Barock,” Windkanal 1/2000, 6–11. (The title, incidentally, is a smutty pun in Anthony Rowland-Jones considers American English, but not in British Eng- the quote “Then to our recorder with lish, the language of the magazine; the toodle loodle poope” from the play Ralph writer is from .) “‘Giving the Roister Doister (1553 or 54) by Nicholas Fingers’: Conventions in the Notation of Udall, headmaster of Eton and later of Contemporary Recorder Music,” Record- Westminster School. Rowland-Jones sees er Music 20, no. 2 (Summer 2000): similarities between “toodle loodle 59–62. poope” and Ganassi’s tonguing syllables (Fontegara, Venice, 1535), except for the Iconography “dle,” which Ganassi does not mention. Anthony Rowland-Jones describes the It has been hitherto assumed that the first important “Recorder Iconography” sec- reference to “dl” appeared in Johann tion of Nicholas Lander’s Recorder Home Joachim Quantz’s Versuch einer An- Page, to which he has made an extensive weisung die Flöte traversiere zu spielen contribution. He mentions the diverse (Berlin, 1752). Rowland-Jones believes sources of the images and the difficulty of that the Udall quote is evidence that finding real recorders (rather than other In the new Australian “Quantz was not the ‘inventor’ of ‘dl’ ar- duct flutes and woodwinds) in catalogues ticulation, and secondly that this articu- of Medieval art. “Images of the Recorder magazine Cinnamon lation [applied] to the recorder,” even in on the Web,” Recorder and Early Music the “very rapid and unslurred ornamen- [Australia] no. 24 (2000): 16–18; Sticks, Benjamin Thorn tation expected in the instrumental mu- www.iinet.net.au/~nickl/recorder.html briefly describes timbral sic of the late 16th and early 17th cen- Continuing his examination of works turies.” “Quantz dediddled,” Recorder of art, Rowland-Jones discusses two alteration (angle-blowing, Magazine 20, no. 2 (Summer 2000): paintings that each depict seven record- 54–55. ers. In the central panel, “The Coronation harmonics, flutter tonguing, The Australian recorder player and of the Virgin,” belonging to a triptych a variety of articulations composer Benjamin Thorn takes a histor- above the altar of the Cathedral at ical look at reasons for the modern thirst Freiburg im Breisgau in southern Ger- and types of vibrato), for experimentation in musical language many by Hans Baldung Grien, painted multiphonics (singing into and technique. Then he briefly describes, 1512–17, the recorders represent the with examples from the literature, the fol- meekness of the Virgin. In the Portrait of the instrument, playing two lowing avant-garde recorder techniques: the Van der Dussen Family (1640) by Hen- timbral alteration (angle-blowing, har- drick Corneliszoon van Vliet, now in the recorders at once), imprecise monics, flutter tonguing, a variety of ar- Prinsenhof Museum, Delft, father and notation (moving trills and ticulations and types of vibrato), multi- younger son hold recorders in front of a phonics (singing into the instrument, music stand on which sits a copy of the burbles, glissandi, etc.), and playing two recorders at once), imprecise sacred song “Factum est silentium” by notation (moving trills and burbles, glis- Hieronymus Praetorius for eight-voice other effects (percussive sandi, etc.), and other effects (percussive —an odd choice for a recorder duet. effects, dismembering the effects, dismembering the instrument). Five other recorders are depicted on or He concludes, rather naively, that some- against a stool. The symbolism of the sev- instrument). He concludes, times such effects “can be grating and dis- en recorders may be simply that there tressing but usually for a specific expres- were seven family members. Three of the rather naively, that some- sive purpose.” “Don’t Be Afraid of Mod- instruments have protective metal sleeves times such effects “can be ern Sounds—They’re Fun!” Cinnamon over the mouthpieces. By coincidence, Sticks 2, no. 1 (May 2001): 6–12. the Dussen family portrait is also the sub- grating and distressing Peter Wells bewails the lack of stan- ject of a supplement to Tibia in 2000, but usually for a specific dardization in the notation of fingering in which reproduces the painting in color avant-garde recorder music. He reviews and features a detailed discussion of its expressive purpose.” the three major formats (diagrammatic, background by Hermann Moeck. Both

12 American Recorder Hendrick Corneliszoon van Vliet’s painting of the Van der Dussen family in the Prinsenhof Museum, Delft, The Netherlands, discussed in The Recorder Magazine and Tibia (see also AR, Tidings, November 2000).

only be recorders, and that Juan wanted them to have “instruments in accord with the new musical tendencies in the French avant-garde manner,” or in other words, “to interpret the ballades, virelais, and ron- deaux so popular in the courts of contem- porary France.” Unfortunately, whether the instruments were made in Valencia, elsewhere in , or abroad is not clear. “La flauta dulce en la antigua Corona de Aragón a finales del siglo XIV: nuevas authors draw on the work of the art histo- riage,” Recorder Magazine, 20, no. 1 aportaciones,” Revista de flauta de pico no. rian Frauke Laarman. Rowland-Jones, (Spring 2000): 11–12; letter, Recorder 15 (2000): 9–12. “Seven at a Blow,” Recorder Magazine 20, Magazine 20, no. 4 (Winter 2000): 165. Ballester also writes about the five no. 4 (Winter 2000): 141–43; Moeck, Writing this time for an audience of art 15th-century Catalan and Valencian “...Familienporträt...,” Beilage zu Tibia historians rather than recorder players, paintings he found that depict shepherds 1/2000; Laarman, “Familienportret mit Rowland-Jones details all his researches playing the recorder (out of a total of 315 blokfluiten,” Kunstschrift 7 (1998): into the symbolism of a pair of recorders. surviving works of art, of which 28 feature 32–36. His purpose is to demonstrate, first, that shepherds). He concludes that these Rowland-Jones also briefly re-exam- the two women lying together and hold- paintings probably tell us nothing about ines two themes from earlier articles of ing parallel recorders in Titian’s Bacchanal what shepherds really played, but only his. A stall panel of the monastic cathe- of the Andrians (1518-19) were about to confirm that the recorder was a sophisti- dral of Zwiefaltern in Swabia, carved be- have sex; and second, that in copying this cated instrument employed in court cir- tween 1744 and 1748 by Joseph Christ- painting (probably 1630s), Rubens made cles. “El pastor músico y la flauta dulce en ian , shows a shepherd bringing a bass certain changes to the upper woman and la pintura catalana y valenciana del siglo recorder to the Christ child and two so- the river below that suggested he disap- XV,” Revista de flauta de pico no. 16 prano-recorder-like pipes at the foot of proved of the women’s relationship. “The (2000): 11–15. the crib in the shape of a Cross. A paint- Symbolism of the Recorders in Rubens’s ing by Antonio Zucchi at Kenwood Version of Titian’s Bacchanal,” Art Bulletin Instruments: construction, House, Hampstead, London (completed of the Nationalmuseum Stockholm 7 restoration, and maintenance 1769) entitled “Epithalamium” (a mar- (2000): 84–90. Sebastian Borsch reports on a newly riage song), or simply “Marriage,” has a Building on Rowland-Jones’s work on patented key mechanism by Norbert Na- central figure playing two single pipes, the recorder in Catalan art, Jordi Ballester man for holes 0, 6, and 7 on the soprano possibly recorders, the right-hand one be- reports that, in addition to the two altar- and . The keys are especially ing slightly longer than the left. Rowland- pieces by Pere Serra dating from the late intended to smooth the difficulties that Jones takes this as “absolute confirma- 14th century (mentioned by Rowland- children and adult beginners have with tion” that two recorders played or held Jones), there is a third, “in all probability” thumbing and with half-holing. Borsch side by side symbolized marriage. In a let- from this period, a Virgen del Lirio in the considers the keys not only unnecessary ter to the editor, he discusses an engrav- church of Longares and painted by the but actually a hindrance to the process of ing by Jacques Matham of “Rest on the anonymous “Master of Longares.” It de- learning to play with a variable thumb Flight to ” by Bartholomew picts the Virgin and Child surrounded by opening and to shade the half-holes. Sprangers (1546–1611), in which St. six angels, five of them playing musical in- “Eine weiteres Klappenpatent für die Joseph’s carpentry basket has a tenor struments, including a recorder. He has Blockflöte,” Tibia 25, no. 4 (2000): 304. recorder on top. “It seems unlikely that also turned up an interesting document: Following on from earlier articles by the artist imagined that Joseph had made a letter from the Infante (Crown Prince) Alec V Loretto on how to make square the recorder himself, a job for which the Juan (later Juan I) of Aragón, written from Medieval soprano and alto recorders, De- saw and pincers shown would hardly Zaragoza in 1378 to his chamberlain, Pere nis Thomas describes how anyone can have been the best tools. So it was proba- d’Artés, asking him to send, presumably make a square greatbass in the Paetzold bly conceived as a gift from one of the Na- from Valencia, “the and the flahutes tradition out of plywood, brass, dental tivity Shepherds, and is en route for the as quickly as possible.” Ballester believes plaster, magnets, and plastic foam. (De- Holy Family’s sojourn in Egypt.” “Post- that, seen in conjunction with the con- tailed plans, drawn by Raymond Taylor, scripts—The Shepherds’ Gifts, and Mar- temporary paintings, these flahutes can and instructions are available from the

May 2002 13 nance: Symptoms and Solutions—Does the expansion of the recorder family from THE IN PRINT Your Recorder Need Servicing?” Cinna- the three sizes mentioned by Virdung to mon Sticks 2, no. 2 (November 2001): the eight known to Praetorius. There is a 20–21. combined fingering chart compiled from author; “A DIY Square C Bass,” Recorder those of Virdung, Agricola, Ganassi, Magazine 20, no. 1 (spring 2000): 5–6. The recorder in the 17th century Jambe de Fer, Mersenne, and “Van Eyck” Jo Kunath, a recorder maker, gives ad- Recently, in preparing the second edi- (actually, Matthyszoon). Pietro Sopran- vice on oiling recorders: how often, with tion of The Recorder: A Guide to Writings zi’s follow-up article consists of “several what, which parts, how, how long to leave About the Instrument for Players and Re- ideas from physics and a few concepts before playing, when not, and a final searchers (with Richard Griscom), I dis- from organology to understand the func- warning about flammability. Another covered that I had inadvertently failed to tioning of an apparently simple instru- recorder maker, Alec V Loretto, gives in- cover a book that I edited myself! It is The ment.” Bornstein, “Il flauto dolce: strut- structions for removing and replacing the Recorder in the Seventeenth Century: Pro- tura, nomenclatura e cenni storici” (pp. block using a wooden hammer and a ceedings of the International Recorder Sym- 5–14); Sopranzi, “Come e perché il flau- dowel (or a length of brass tubing in posium Utrecht 1993 (Utrecht: STIMU to dolce ” (pp. 15–29). replacing the block only). Kunath, “Eine Foundation for Historic Performance Francesco Li Virghi briefly considers ölige Sache...,” Windkanal 4/2000, Practice, 1995). As the title mentions, it the question “to restore or not to restore” 24–27; Loretto, “Removing the Record- derives from a symposium sponsored by early recorders, coming down strongly on er’s Block and Replacing It,” Recorder the Dutch foundation STIMU, although the side of leaving original instruments Magazine 20, no. 2 (Summer 2000): some of the lecturers took the opportuni- alone and studying copies of them. 56–57. ty to expand their subject matter for the “Restauro o non restauro?” (pp. 30–32). Peter and Natalie Nussey briefly de- printed proceedings. I believe that this Karel van Steenhoven looks at the his- scribe playing-in, recorder care, oiling, book shows what excellent results can be tory and purpose of the 16th-century care of joints, and avoiding cracks (“the obtained by mixing musicologists, per- ricercar. He also offers some performance big C”). In the first in a projected series, formers, museum curators, and instru- suggestions (tempo, rubato, ornaments) Brian Blood of the Dolmetsch Workshop ment makers at a symposium. The for ricercars that recorder players might covers voicing problems (weak bottom recorder world owes a great debt to play: those by Aurelio Virgiliano and Gio- notes and poor or non-speaking high STIMU and its then-organizer Guido van vanni Bassano. “Il ricercare solistico e notes). Nusseys, “Tips and Mainte- Oorschot for a stimulating and path- d’assieme nel secolo XVI” (pp. 35–43). nance,” Cinnamon Sticks 1, no. 1 (No- breaking contribution to recorder re- Patricio Portell briefly considers the in- vember 2000): 18–19; 2, no. 1 (May search. [The book was reveiewed in the volvement of the recorder in the pastoral 2001): 20–21; Blood, “Tips and Mainte- November 1997 AR.] music of France in the late Baroque peri- od, which was dominated by the musette Il flauto dolce: and the vielle. Keys suitable for the Alec Loretto gave advice on mainte- dallo scolaro al virtuoso musette and the vielle were also suitable nance in The Recorder Magazine. In marked contrast is a curious Italian for the recorder, and some composers list collection of articles about the recorder, Il the recorder as an alternative instrument flauto dolce: dallo scolaro al virtuoso, ed. (occasionally, as in the third of Monté- Vittorio Nicolucci (Bologna: Ut Orpheus clair’s Concerts, the primary instrument). Edizioni, 2000), which is said to be the Portell ends with a bibliography of the last editorial project of a defunct early- pastoral music that could presumably be music association, 415 Associazione Ital- played on the recorder. “Il flauto dolce e iana per la Musica e la Danza Antiche. The la musica champêtre” (pp. 44–49). book never makes up its mind what it Peter Hauge’s article seems out of wants to be. Some of the topics are con- place in this book: a general discussion of fined to the recorder, some broader; most mode in Renaissance and early Baroque of the articles fail to cover their subject music. John Tyson briefly considers the matter adequately, by being too short or role that improvisation played in Renais- too discursive; and the projected audi- sance music and dance, drawing on ex- ence is not clear: amateurs, professionals, amples of diminutions by Ganassi and or both? Moreover, with the clear excep- making parallels between the music of tion of Angelo Zaniol, the Italian authors the time and , even invoking the con- represented are unaware of some impor- cept of “swing.” Hauge, “La pratica tant research being done abroad (notably, modale nella musica italiana del tardo the article by Van Heyghen summarized Rinascimento e primo Barocco” (pp. above). 51–63); Tyson, “Musica e improvvisa- Andrea Bornstein’s opening article is zione nella danza del Rinascimento” (pp. mainly a history of the recorder’s design 64–69). from the Middle Ages to the early Giovanni Toffano’s introduction to Baroque, as documented in historical the recorder music of Antonio Vivaldi treatises and inventories (with a few ref- does little more than list the composi-

PHOTO: JOHN CUERDEN erence to surviving instruments). It traces tions in question, then quickly moves on

14 American Recorder troductions to Luciano Berio’s Gesti, In an Italian collection of John Tyson Marco Lasagna’s Nervi, Kunsu Shim’s peripatetic exercise, Richard Rijnvos’s Za- articles about the recorder, hgurim, and Roland Moser’s Musik zu Pontormo. “Il ruolo del flauto dolce nella John Tyson briefly musica contemporanea” (pp. 90–100). considers the role that Angelo Zaniol, a well-informed recorder maker and scholar, presents an improvisation played in idiosyncratic “brief guide” to “early docu- mentary sources” about the instrument. and He begins by recommending my annual dance, drawing on reviews of recorder research (and, in a footnote, Richard Griscom’s and my examples of diminutions book The Recorder: A Guide to Writings About the Instrument for Player and Re- by Ganassi and making searchers, 1994). A section on “original parallels between the early recorders” touches on Edgar Hunt’s gift of his splendid collection to the Bate music of the time and Collection, Oxford, and mentions articles by Bob Marvin and himself as well as jazz, even invoking the Phillip Young’s book 4900 Historical concept of “swing.” Woodwind Instruments. The section on to a spirited discussion of modern record- “early treatises” primarily recommends ings of Vivaldi’s concertos, from the clas- Griscom & Lasocki, a series of articles by sic ones of Frans Brüggen (whose per- himself, and a few other sources. Finally, formances “remain a basic point of refer- the section on “recorder iconography” ence”) to those of Michala Petri, Marion mentions his own unpublished research- Verbruggen, Michael Schneider, and Dan es—made long before Anthony Rowland- Laurin (whose interpretations “bring Jones’s recent flurry of articles—then back the same gusto as Brüggen for the gives two examples of the usefulness of beautiful sound of the recorder”). “Le iconography in determining the diffusion composizioni di Vivaldi per flauto dolce: of the Ganassi recorder and the date of in- repertorio e versioni” (pp. 70–75). vention of the Baroque recorder. Giovan- Sergio Balestracci sets out to examine ni Toffano’s discography of recorder CDS the Italian solo recorder sonata repertory is restricted to 86 examples of recently re- from Salamone Rossi in 1607 to the death leased (or reissued) recordings of of Arcangelo Corelli in 1713. Of course, in which the recorder since there was virtually no such reperto- plays a solo or concertante role. Zaniol, ry—he admits that the recorder played a “Il flauto dolce: fonti documentali an- minor role in in comparison with tiche. Breve guida per un approccio profi- England during this period—he is forced cuo” (pp. 103–09); Toffano, “Il flauto to take a broad view and include works dolce in compact disc: Discografia” (pp. written for the violin as well as for a gener- 110–14). ic “soprano” instrument or “ogni sorte di stromenti” (all types of instrument) that The author, a music librarian at Indiana were or are adaptable to the recorder. The University, writes about woodwind instru- most important section of the article is ments, their history, repertory, and perform- the last: a discussion of how the recorder ance practices. He is the author of 21 articles sonatas in Ms. CF-V-23 of the Biblioteca in The New Grove Dictionary of Music Palatina in Parma, dating from period and Musicians, 2nd ed. (London: Macmil- 1700–20, were adapted from violin lan, 2000). For sending sources and provid- sonatas. An appendix lists over three ing other support during the preparation of hundred solo sonatas, arranged in this review, he would like to thank Richard chronological order. “La sonata solistica Griscom, Sabine Haase-Moeck and Moeck per flauto dolce nel Seicento italiano” Music, Hans Maria Kneihs and ERTA (pp. 76–89); the Parma manuscript is Österreich, Bárbara Sela and Guillermo published in facsimile by SPES, Florence. Peñalver, Nikolaj Tarasov and Conrad Mol- Gerd Lünenbürger, a well-known ex- lenhauer GmbH, Zana Clarke, Genevieve ponent of avant-garde recorder music, Lacey, Anthony Rowland-Jones, and my col- naturally considers that the recorder’s leagues in the William and Gayle Cook Mu- role in contemporary music is to play sic Library, Indiana University, especially avant-garde music. He gives detailed in- Mary Wallace Davidson and Michael Fling.

May 2002 15 A NEW TENOR FOR PAUL Dr. Godby reports on his experience playing a one-handed tenor made by Mollenhauer

HY I NEED A ONE-HANDED recorder in a clever way by having an oc- was detailed in an earlier article tave key lever on the body, W which, when slightly pressed, in this magazine (“Reflections of a Right- Handed Recorder Player,” January 1996) opens a small pad on top of the but, to briefly recount, I suffered a stroke main pad to approximate the half 10 years ago that left my left hand dis- closed thumb hole. Full pressure abled, and I wanted to continue playing lifts the whole assembly from the music. hole. The thumb merely sup- My first instrument, kindly given to ports the instrument, and it me eight years ago by Marion Verbruggen, could, with difficulty, be played was an alto made by Yamaha. I’ve been with the right hand alone with- successfully using this one-handed alto out additional support (the playing Renaissance duets with a friend, a Yamaha design pretty much re- member of the consort to which I once quires the left hand to hold the belonged. instrument). This would be im- This instrument is well made but dif- portant for an amputee. ficult to play, particularly passagework in- The tenor is based on a Den- volving the B in the lower octave. Playing ner model. It has a curved wind- it makes considerable use of the fourth way and double holes in the foot and fifth fingers and roller keys, them- for the C and the body, where selves requiring sideways movement, to the mechanism to allow one- sound the B . The two lower fingers share handed operation is located, has a tendon sheath in the palm, and inde- both holes (double for the D ) pendent movement is hampered by this. and levers allowing a two-octave Try to move the fifth finger and the fourth chromatic scale. I’ve yet to gain moves with it. A useful alternate for the A proficiency, but the fingering helps the A-to-B transition in the upper seems more intuitive than the octave. There is no fingering for the lower Yamaha alto. as my alto. The more muted effect of the F and G , nor, a fingering for the highest The instrument is offered in pearwood F . The right thumb is used for the octave and , but supplies of the more bronze keys on the tenor’s blond wood thumb hole and one needs to learn to expensive rosewood were low and in- are less likely to draw attention to the in- “thumb” with the right thumb. volved a delay. For this reason, I ordered strument than the more complicated Yamaha also makes a soprano, but, for the instrument in pearwood and, with chrome key system on the rosewood alto a reason I’m not aware of, it uses an en- case, it cost nearly $800. The fitted case (see photo). The tone is clear and strong tirely different fingering system. Since was included in that price and is worth throughout its range, with notably strong these instruments are difficult to master, I the small, added expense. lower notes. The key travel is small, and didn’t learn to play the soprano; it was When it arrived, it was clear that the both keys and levers are padded for quiet less useful in a consort situation than the instrument had never been assembled. operation. In the early stages of playing alto. But I hoped that if I could find a one- The head and foot joints are standard for this instrument, I had some difficulty in handed tenor, it would give me more flex- this class of , but no amount of cork finding the correct pressure with my fifth ibility in playing consort music. grease would allow the tenons of the mid- finger to open the octave key for the high For several months now, I’ve had the dle section to join with the head and foot. G and A—particularly moving from the E opportunity of using a Mollenhauer tenor Judicious sanding of the corks solved the to either of these notes. I hoped this recorder with a mechanism that allows problem. would become easier with practice . me to use the right hand alone. The Mol- The keys on the Mollenhauer are After some time with the instrument, I lenhauer system, used throughout the brass, not chromed and jewel-like as on am able to make a few more observations: SATB instruments they manufacture for the Yamaha, but they are as quietly effec- The narrow curved windway did eventu- one handed players, solves the thumbing tive. This instrument plays as well in tune ally clog and required some silicone treat-

16 American Recorder The one-handed recorders discussed in this article have antecedents. Friedrich von Huene was interested in my one- handed Yamaha alto when he had it in his shop to revoice a Rottenburgh head (which fitted the tenon—the instrument came with a plastic head). GODBY He sent me copy of a photograph by Paul J. Godby, M.D. showing an amputee from WWI playing a specially adapted metal flute from a stand on a table. At that point, I assumed that Yamaha was the first manufacturer to ment. The hoped-for fingering facility has web sites that will direct you to their of- adapt a recorder for one-handed play. I been slow. A noteworthy example has to ferings. The situation with Yamaha is not also learned that Zen-On offered its do with the B -C and B -A in the lower oc- so clear. Their web site makes no mention own fingering system on a plastic alto. tave. The fingering seems awkward and of their one-handed recorders. I received the clearance for my index finger on the mine from Marion Verbruggen in 1993. In the research for this article, I top key lever very tight. She had seen a piece about it on TV (ei- subsequently learned from The supplied fingering chart, at first ther in the states or Japan) and purchased Mollenhauer that they have been only in German, takes some interpreta- or was more likely given one to give to me. modifying recorders for handicapped tion. For an example, the B in the second She called from somewhere to ask me people since the 1950s and introduced octave seems to call for more fingers than which hand still “worked.” She had re- their recorders with one-handed are available. While the thumb is beneath membered correctly. The soprano I pur- mechanisms in 1982. I learned that the instrument supporting it, five keys or chased from Yamaha myself involved Mollenhauer has SATB recorders with holes are shown closed (including the oc- contacting the U.S. Yamaha representa- similar fingering systems for sale. tave key). This isn’t possible: the arrange- tive directly. Since buying the Mollenhauer ment of the keys doesn’t allow one finger I realize this topic is of limited interest tenor, I’ve found out that Dolmetsch is to close more than one key. The solution to most, but for those who have lost the offering soprano and alto one-handed is to ignore the thumb key lever; with use of one hand through injury or illness proper breath pressure, B works. these instruments may allow return to recorders in what they call the “Gold” Regarding further information on playing music again. Putting the expense series, based on their experience recorders that can be played with one of the instruments aside, their learning making recorders for people with hand, one can access the Mollenhauer curve is steep and, at least in my experi- missing fingers and hands since the web site (www.mollenhauer.com) or con- ence, regaining all you’ve lost is impossi- 1930s. These instruments look tact Stefan Kömpel at Koempel@Mollen- ble because two hands will always be bet- interesting, and perhaps another hauer.com. Mollenhauer will add one- ter than one. While I can see myself play- player might purchase and evaluate handed mechanisms to any reorder in ing most Renaissance music again, the one of these instruments. their line, it seems. Zen-On and Dol- passagework of Baroque music seems —P.G. metsch (www.dolmetsch.com) also have out of reach.

Mollenhauer right-handed tenor, above, side by side with Yamaha right-handed alto (with Moeck Rottenburgh headjoint).

May 2002 17 Composers/Arrangers

note has a powerful, compelling quality. Writing for Recorder Although only a brief eighth-note F be- gins the piece, the final note is a held whole-note F . Since it is a solo piece, harmony is im- in a Contemporary plied. The piece is not in any traditional key. Instead, the key is made ambiguous. EARS AGO I BECAME INTERESTED in the Generally, the interval of a perfect fourth Ypotential of the recorder for playing from F to B defines one possible tonality, Lyric Style lyric melodic lines in a contemporary and this is exploited right from the begin- style, where slurring and poetic expres- ning as the first F rises up to the quarter- sion are uppermost and the articulation note B at the beginning of the first full and rhythms are quite different from measure. Then in measure 13 a change by Stan McDaniel those appropriate to early music. While takes place, starting with the half-note B living in New York during the early sixties, which moves stepwise to the repeated F I wrote Estel (Hope), a work in four move- natural in measures 14 and 15. Here we ments for solo alto recorder in “contem- have the perfect fourth from B to F, as the porary lyric style.” The four movements, tonal ambiguity is made evident. So one of which the first is reproduced here, might infer that at first we are in the key of were “Estel (Hope),” “Fancy,” “Lament,” G and later in the key of F, except that G and “Dance.” I was quite moved when, and F never become real resting-places having sent a copy to the virtuoso Frans for the melodic line. Instead, the feeling is Brüggen, he replied that it was “a real modal. (For instance, the first real “ca- contribution to the modern recorder dence,” in measure 23, lands the melody repertoire.” Despite this praise and the on A, following a sub-cadence in measure fact that a number of copies were sold at 18 on E.) The Recorder Shop in Manhattan, the Structurally, the melodic line proceeds piece was never performed until I played in a series of quick movements interrupt- the premiere at the Spring Recital of the ed by various hesitations, which are for East Bay Recorder Society a couple of the most part produced by repeated years ago. notes, or repeated sequences of intervals To understand this music, it is best to in half- or quarter-notes. Examples of this This is the sixth in a series of arti- hear it as an extended recitative or decla- are the repeated Ds in measure 36, re- cles featuring the works of com- mation—what I sometimes call an “utter- peated intervals in measure 38, and so ance.” The recorder is singing and telling on. The pattern of three repeated quarter- posers and arrangers who write for a story at the same time. One must have notes, as found in measures 36 and 40, is the recorder. Each installment is a sense of the whole narrative within an augmented form of the pattern of which the long phrases and shorter mo- eighth-notes found in the first two beats accompanied by discussion of the tifs are organic components. In writing of measure 5 and the last half of measure the composer’s own working meth- and performing a piece in this style, strict 8, with an echo of the same pattern in six- attention must be paid to slurring (slurs teenth-notes during the 6/8 passage. Fi- ods, including the performance con- not tongued!). The lyric melodic line not nally, as things heat up, triplets begin to only expresses emotion but also implies appear, quickening the motion and mix- siderations that went into creating harmony by the sequences of tones and ing in with eighth-note patterns (meas- the selected piece of music. It is their relationships. sures 81, 85, and 87). The meter is flexible: The first full The essence of writing such a piece is hoped that the considerations that measure is six beats, the next four, and to write it as a unified, organic whole. The composers and arrangers have to the next eight. It is the ongoing move- essence of playing it is to play it in the ment of the extended melodic line that is same way, as a single lyric “utterance” keep in mind will be of general uppermost. As for counting, the quarter from beginning to end, going through interest to all AR readers, who will note has the same value throughout (ex- many emotions on the way. cept for a brief 6/8 passage). Care has also be able to add to their music been taken to make this piece playable by Stan McDaniel is a past president of the collection a series of performable an intermediate player, while exploiting Sonoma County Recorder Society and win- the recorder’s range. The very first note is ner of the 1999 composition prize sponsored short pieces or excerpts. the alto’s low F , not an easy note for by the Chicago Chapter of the ARS. More in- Stan McDaniel, Series Editor many players. However, when played well formation may be found on his web site at with just the right breath control, this www.stanmcdaniel.com.

18 American Recorder

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20 American Recorder MUSIC ______REVIEWS ______Recorder works from the late 18th century, volumes for recorder and voice, tunes for beginners and students, and a new edition of a worthwhile method

QUINTETTE (1780), BY DOMENICO advantage of this modern edition to put The main question with the work for MANCINELLI, ED. NIKOLAUS DELIUS. Moeck these pieces to their original use: con- our purposes is whether the flute part 1142 (Magnamusic), 1999. TT, 2 , vivial music making using an unusual might have been intended for recorder. cello. Sc 20 pp, pts 10 pp. $35.00. mix of old and new instruments. Editor Rovatkay-Sohns does not pro- According to Nikolaus Delius’s notes nounce definitively on the matter (de- to this intriguing issue, Domenico NOTTURNO À 4 (1777), BY JOHANN spite the fact that the work is issued in Mancinelli was probably born in Bologna GEORG ALBRECHTSBERGER, ED. SIRI Moeck’s “Recorder Repertoire” series) about 1735, became a member of the fa- ROVATKAY-SOHNS. Moeck 2566 (Magnamu- beyond pointing out that the range of the mous Bolognese Accademia di Lettere e sic), 2000. A or flute, two violins, cello, sc part and the key (B major) fit the alto d’Esercizi Cavallereschi in 1753, emigrat- 18 pp, pts 8 pp. $28.00. recorder well and that Albrechtsberger’s ed to London and published the bulk of J.G. Albrechtsberger is best known to- original designation for the part is simply his ten surviving works there before his day as one of the greatest theorists of the “Flauto,” with no further qualification. death in 1802. He seems to have been art of counterpoint and as an influential Performers will have to make up their most closely associated with the flute, but teacher (of Beethoven among others). He own minds, although some difficult bal- his membership in the Accademia de- was a contemporary of Haydn and ance problems in the lower register and scribes him as maestro de traversiere, oboe worked as a church musician all his life, the shift to B minor in the middle of the e flauto dolce. This last reference helps ex- leaving behind a considerable number of last movement (among other considera- plain Mancinelli’s virtually unique use in compositions for organ and for voices. As tions) might lead one to regard the these of what are presumably an instrumental composer, Albrechts- recorder scoring as somewhat wishful two tenor recorders (termed in the source berger worked primarily in an easy, al- thinking. manuscript flauti dolce tenorini and writ- most galant Classical style. This Notturno The piece as a whole would be most ten as transposing instruments down a is not of large dimensions, but its four comfortable for upper intermediate or ad- fifth from G alto) in conjunction with two movements are in a standard Classical vanced players, but some sections, espe- violins and cello (without continuo). The sonata order of allegro in sonata form, cially the Menuetto, would be approach- original manuscript contains six quintets adagio, minuet, and rondo finale. The able for a lower intermediate group. As is of which, for some reason, Delius has form, as might be expected from a noted usual with Moeck, the presentation is at- chosen only to publish the first five. Each theorist, is crystal clear and satisfying, the tractive and considerate with the small work is in two short binary movements melodies are ingratiating, and the tex- exception of some very cramped typeset- with the instruction to play the first tures are well thought out. There is par- ting in the first violin part of the Menuet- movement again after the second. ticularly good interplay between the to. Adventuresome recorder players with The style of the whole collection is strings and the solo flute part, which is access to strings might well want to give melodious and transparent, in the late predominant without quite taking on a this one a try. 18th-century galant manner, and of only concerto-like character. Continued overleaf intermediate difficulty. Though the music is simple in structure, Mancinelli has tak- en great care over the sonority of the mu- The main question with Albrechtsberger’s Notturno sic, consistently pairing the recorders and is whether the flute part might have been intended treating them like the concertino group in a concerto grosso while the string parts for recorder. Rovatkay-Sohns does not pronounce employ multiple stops and other devices definitively on the matter beyond pointing out that to fill out the texture. The writing is care- ful enough that even with modern instru- the range of the part and the key fit the alto recorder ments the music should work effectively. well and that Albrechtsberger’s original designation The edition is clean and easy to read, for the part is simply “Flauto,” with no further with good page turns and just a couple of small typographical errors, such as a cou- qualification. Adventuresome recorder players with ple of missing slurs. Recorder players access to strings might well want to give this one a try. with string-playing friends should take

May 2002 21 MUSIC REVIEWS (cont.)

FLAUTO E VOCE I, ED. KLAUS HOFMANN. tray a flowing stream and bird song. Some Carus-Verlag 11.209/01 (www.carus-ver- music is quite virtuosic, such as Vivaldi’s lag.com), 1995. Recorder ensemble, high aria “Cara sorte” from the opera La verità voice, & bc, sc 31 pp. Abt. $12.50, plus in cimento for , sopra- P/H. no and continuo, which has textures rem- FLAUTO E VOCE II, ED. KLAUS HOF- iniscent of Vivaldi’s sopranino concertos. MANN. Carus-Verlag 11.210/01, 1998. However, most of the material would be Recorder ensemble, low voice & bc, sc 32 quite approachable for intermediate and pp. Abt. $12.50, plus P/H. even beginning ensembles. FLAUTO E VOCE III, ED. KLAUS HOF- Hofmann’s extensive notes give full MANN. Carus-Verlag 11.211, 2000. details of his sources, brief biographies of Recorder, soprano voice & bc, sc 32 pp. the lesser-known composers, such as Jo- Abt. $12.50, plus P/H. hann Peter Guzinger or Carlo Luigi Pietro FLAUTO E VOCE IV, ED. KLAUS HOF- Grua, and detailed performance sugges- MANN. Carus-Verlag 11.216, 2000. tions. He provides translations for the Recorder ensemble, high voice & bc, sc 48 French and Italian excerpts, but not for pp. Abt. $17.50, plus P/H. those in German. While only the scores This enlightening series from Klaus were received for review, full sets of parts Hofmann and Carus-Verlag contains a to- are also available. Carus’s layout is a well tal of 25 arias and recitatives from 17th- balanced combination of the scholarly and 18th-century , oratorios, can- and the practical. Although these collec- tatas, and song collections by German, tions are fairly specialized, they will de- Italian, and French composers, both fa- light recorder players who belong to small mous and little-known. The common chamber ensembles with vocalists or who thread, of course, is that each work fea- would simply like to make the acquain- tures from one to six obbligato recorder tance of an obscure but very worthy cor- parts. (Volume III is for a single soprani- ner of the instrument’s repertoire. Let us no, soprano, or alto recorder through- hope that enough material exists for the out.) Hofmann has carefully kept the mu- series to be continued well into the sic in its original scoring, even giving spe- future. cific indications for appropriate continuo Scott Paterson instruments in his annotations. While the variety of ensembles employed and 100 CLASSIC MELODIES FOR DES- the brevity of some of the excerpts may CANT RECORDER, ARR. SIMON LASKY. make these volumes somewhat difficult Kevin Mayhew, Ltd., MB99275 (Mel Bay to use for performing groups, the incred- Publications), 2000. S, 39 pp. $11.95. ible variety of material is ample justifica- Simon Lasky has given us music from tion for the books’ existence, and any a wide range of composers from J. S. Bach reading group with access to singers will and Purcell to Satie and Scriabin and on find these collections to be a treasure to Sousa and Joplin. All are attractively trove of source material. presented within glossy covers and are Some of the music is familiar, such as easy to read. Guitar chords are indicated Bach’s aria “Komm, leite mich” from throughout. Cantata 175, but there are also many The collection is subtitled, “a collec- undiscovered gems, such as the extensive tion of the world’s most beautiful and attractive aria “Ruisseaux, qui ser- themes” and really is that, but what both- pentez” from M.P. de Montéclair’s opera ered me is that only a portion of many of Jephté, in which sopranino, soprano, alto, the themes is quoted. For example, in the tenor, and bass recorders evocatively por- “Ode to Joy” theme from Beethoven’s Symphony No. 9, only the AA is given of KEY: rec=recorder; S’o=sopranino; S=soprano; the original AABA form. The B phrase and A=alto; T=tenor; B=bass; gB=great bass; cB= contra the last A are simply omitted. This is often bass; Tr=treble; qrt=quartet; pf=piano; fwd= fore- word; opt=optional; perc=percussion; pp= pages; done in beginning instrumental method sc=score; pt(s)=part(s); kbd=keyboard; bc=basso books, presumably because of range or continuo; hc=harpsichord; P/H=postage and han- endurance considerations, but since this dling. Multiple reviews by one reviewer are followed by that reviewer’s name. collection is aimed at intermediate play- ers, there would seem to be no reason to

22 American Recorder Would you or your students like to rehearse and practice more with accompaniment? How would you like to have accompaniment available any time, anywhere, for as long as you wish? Accompaniment from excellent professional musicians, such as Tatyana Gevorkova, pianist of the Bolshoi Theater in Moscow, Russia; Alexander Puliaev, professor of harpsichord at the Conservatory of Music of Cologne, Germany; the Telemann Chamber Orchestra, internationally recognized Baroque specialists….musicians who would patiently rehearse with you any passage you want, repeating as often as you like, and, if you so choose, in slow speeds as well ? Does this sound like a dream to you? It can become a reality: Through DOWANI ‘3 Tempi Play Along’ CD’s (with !) these musicians can be your regular accompaniment. They will inspire you and your students to higher achievements than ever before….. This has been our own experience and that of many others. In Europe, DOWANI is already market leader among all play along products, for good reasons. Here are some unsolicited comments from American musicians: I love them! ….excellent tools for the teacher and for the students. I can speak for the flutists, as a flutist myself, the soloists have excellent sound and interpretations. The whole system is great… The students learn really fast with them. I’m very, very pleased. ….great selection…. …so rare to find something like this… --Ann Merwin, Ann Merwin’s Flute Studio, St. Mary’s, GA Dear Sirs, I wanted to thank you so much for the violin CD’s that I ordered. They are very unique and something I have been looking for, for a long time. They are ideal. My pupils have been fascinated and motivated to practice. It’s amazing, and they sound much better. --Mary Zoe Nolte, Cedar Rapids, IA ...excellent quality recordings….appropriate performance practice…very well thought out! …It works …a great solution.. –Andre Janus, Watertown. MA I enjoyed using your product immensely. I think it is excellent, fun to use, and extremely well presented and packaged. ….The clarinet parts provided with the CD’s are very well done, the performances by clarinetists on each CD are absolutely beautiful… --Michele Gingras, Professor of Music at Miami University, Oxford, OH and from an article on play along recordings in the Sept. 2001 issue of the “American Recorder”: “A very pleasant surprise for me was the discovery of the superb DOWANI 3 Tempi Play Along CD’s…..Since 1997, DOWANI has switched to the recording of real musicians, and the recorder world may rejoice at this decision!….very pleasing performances…..Students who are studying advanced ornamentation will gain so many ideas by listening to the florid embellishments on the concert performances. …Learning this concerto (Woodcock, ed.) with this CD is great fun…. And more good news: Right now these CD’s are very affordable! You can make this dream come true for you and your students for only $ 15.92 per CD (this is more than 33% off the normal retail price of $24.00, and 20% less than our Direct Order/Internet Price of $19.90) plus a shipping charge of $6.00 per order. This offer is only available with this order form and expires on the 20th of June, 2002. If you would like to hear the quality before you buy, you may now listen to, and download parts of any of the CD’s by registering at our website: www.dowani.com For more information, or for a free copy of our catalog, you’re welcome to call us at our toll free number: 1-877-5DOWANI (1-877-536-9264) Fax your order forms to: Toll free Fax 1-877-6DOWANI (1-877-636-9264), or mail them to: DOWANI AMERICA, 430 Evans Ave., Missoula, MT 59801

DESCANT RECORDER (Soprano) TREBLE RECORDER (Alto) Quantity Quantity ____ DOW 1001 ALBUM I (Easy) Pieces from Susato, Fitzwilliam ____ DOW 2001 CORELLI Sonata for Treble and Basso Continuo Virginal Book, Attaignant, Paix, (trad.) Op. 5, No. 8 in G -Minor ____ DOW 1002 ALBUM II (Easy) Pieces from Caroso, Bach, ____ DOW 2002 HAENDEL Sonata for Treble and Basso Continuo Vivaldi/Zimmermann, Purcell Op.1, No. 4 in A -Minor ____ 1003 ALBUM III (Easy) Pieces from Susato, Sermisy, (trad.) ____ 2003 TELEMANN Sonata for Treble and Basso Continuo, No. 2 ____ DOW 11 Piano Accompaniment Score for Albums I, II, III from “Der getreue Musikmeister” in B flat -Major ____ 1004 TELEMANN Partita No. 2 for Descant and Harpsichord ____ 2004 HAENDEL Sonata for Treble and Basso Continuo in G -Major Op. 1, No. 11 in F -Major ____ 1005 TELEMANN Partita No. 5 for Descant and Harpsichord ____ 2005 TELEMANN Sonata for Treble and Basso Continuo, No. 1 in E -Minor from “Der getreue Musikmeister” in F -Major ____ 1006 BIGAGLIA Sonata for Descant and Harpsichord ____ 2006 LOEILLET Sonata for Treble and Basso Continuo in A -Minor Op. 1, No. 1 in A -Minor ____ 1007 BASTON Concerto for Descant, Strings and Basso ------Continuo No. 2 in C -Major NAME:…………………………………………………………… ____ 1008 DELALANDE Suita for Descant and Basso Continuo ADDRESS: ……………………………………………………………… ____ 1009 BASTON Concertos for Descant, Strings, and Basso …………………………………………………………………. Continuo, No. 4 in G -Major, and No. 6 in D -Major TEL. ……………………… E-Mail …………………………………… ____ 1010 WOODCOCK Concerto for Descant, Strings, and Basso CREDIT CARD: (Master,Visa,Amex,Discover accepted) Continuo No. 3 in C –Major CARD No. ………………………………………Exp. Date…………… Or include Check with Order Form. student knows B and A, there’s “BA-llad”; MUSIC REVIEWS (cont.) after G comes “Jazz on the Lamb” (as in “Mary Had…”); after introducing E comes “Porkchop ”; with D comes abbreviate these beautiful themes. How- quarter of the pieces stay within the alto “The Cultured Farmer” (“Old MacDon- ever, its wide variety of themes from many recorder range. In addition, many of the ald”). F is the sixth and final note intro- different composers, periods, and styles others have one phrase, or perhaps two duced. Used in isolation, the syncopation make this book a worthwhile addition to notes at a cadence, that could be played of the songs as seen in print will be con- any recorder player’s library. “octave up” on the alto. While there are fusing to beginners, but the play-along only a few low Cs and Ds in the whole feature and strong rhythmic and melodic FOLK SONGS OF THE UNITED book, B and C above the staff are com- appeal quickly erase any problem. The STATES, ARR. MARK LEPIANE. Mel Bay mon, making many of the pieces high in CD lessons and are live- Publications, MB96738, 1999. S, 64 pp. the soprano recorder range. The Table of ly and interesting and just plain fun. The $9.95. Contents includes names and dates of publisher gives the purchaser permission Mark Lepiane spent his life as a music each of the composers. A page of Perfor- to copy the written score for use of educator, and this book of folk music is mance Notes lists each of the various students. the natural outgrowth of his life-long in- dance types and defines them as to coun- terest in military history. Many of the try of origin and performance style or FLUTEEMOTION, BY CAROLA OTTER- songs in this book, therefore, are of mili- tempo. A brief Table of Embellishments STEDT, Moeck 740/741 (Magnamusic), tary origin, such as “The British Gren- explains the symbol for each ornament as 2001. S, 13 pp. $8.50. adiers” and “The White Cockade,” and it appears in this book. The layout of the Fluteemotion is a collection of sixteen some are about loves left behind, like book leaves lots of wasted space at the short recorder pieces composed by Caro- “Johnny Has Gone for a Soldier” and bottoms of pages. With more planning, la Otterstedt, who has a doctoral degree “Soldier Won’t You Marry Me?” Many some of this space could have been elim- in behavioral science and works as an au- commemorate famous battles: “The Bat- inated or utilized for graphics and illus- thor and lecturer promoting the healing tle of Trenton” and “The Constitution and trations, of which there are none. qualities of music, language and move- the Guerriere.” Several are just plain fun ment. Her studies at the Orff Institute in songs: “Wait for the Wagon” and “Goober THE BIG EASY, BY BRADLEY L. BONNER. Salzburg and at the Musikhochschule in Peas.” Other well-known selections in- Sweet Pipes, Inc. SP 2376, 2000. S, 13 pp, , as well as periods of working in clude “Shenandoah,” “Go Down Moses,” with CD. $14.95. Africa and , have combined to influ- and “When Johnny Comes Marching The Big Easy is a six-note tour of the so- ence her compositions. Home.” About 18 pages are devoted to prano recorder for beginning players. A The title of this work, Fluteemotion, is the history of military music in the Unit- one-page lesson introduces each of the a little play on words as explained in the ed States. An introduction to this section six notes, and there are exciting CD preface, “…the movement of the fingers gives information on the development of teaching tracks and accompaniments for and the stimulation of one’s sense of military music in the U.S., from Revolu- each lesson. Following the introduction touch, … the training of aural and mental tionary War fifes and drums until the use of each note are performance pages cre- capabilities and above all conscious and of radios and telephones eliminated the atively accompanied by the CD. Each deep breathing, all go to help promote need for musical signals on the battle- piece is recorded twice on the CD, first physical, mental and, indirectly, emo- field. Each tune is introduced with a short with the recorder part and accompani- tional health.” It is intended for use espe- historical paragraph, and most have gui- ment for listening or playing along, and cially by individuals who may play the chords and multiple verses printed at then with the accompaniment only for recorder infrequently or who just want to the bottom of the same page. This publi- performance. The book and the CD come relax and enjoy themselves without great cation, intended for intermediate re- packaged in a zipper-sealed plastic bag, exertion or commitment to heavy prac- corder players, is a good sampling of pop- which keeps everything nicely together. tice. This means that the meters, key sig- ular and military tunes from U. S. history. The Big Easy is a refreshingly creative natures, ranges, and rhythms of the presentation of basic concepts. For exam- pieces are kept simple. All are in 4/4 , 3/4, RECORDER IN THE BAROQUE ERA, ple, after B is introduced, students get to 2/2, or 6/8, with no more than one flat or ARR. ROBERT BANCALARI. Mel Bay Publica- play “Bossanova with a ‘B’”; when the one sharp and just a few accidentals. tions, MB96331, 1999. S, 31 pp. $7.95. Robert Bancalari has played viola for the Burbank Symphony, and as a teenag- Partners in Harmony, by Gwendolyn Skeens, is a er he taught himself and guitar. collection of twenty-six different songs paired to make He then took up the Hammond B-3 organ and has played with various R & B bands thirteen partner songs when they are played in the L.A. area. He also enjoys studying simultaneously. Together, the results are fun and Baroque music for recorder, , man- challenging for the just-past-beginner player, as the dolin, guitar, and viola da gamba. Recorder in the Baroque Era contains mostly well-known melodies combine to make about forty pieces by a dozen different interesting harmonies and rhythms. This collection composers. The publication is for sopra- opens many practice and performance possibilities. no recorder with guitar chords, but fully a

24 American Recorder Ranges extend no higher than the A above the staff, and the hardest rhythms are ARS Membership Enrollment and Renewal eighth-note triplets and dotted-eighth- and-sixteenth patterns. Stylistic indica- Please enroll/renew me as a member of the Society. I’m looking forward to: tions are in German when given, but the ✰ American Recorder, ARS Newsletter, and the Members’ Directory preface tells us: “This collection wishes ✰ Members’ Library musical editions the adult player to consciously avoid ✰ Eligibility for the ARS Education Program examinations fixed instructions as to how the pieces are ✰ Discounts to some recorder workshops and on ARS publications ✰ to be played.” Therefore, the player is in- Mailings from suppliers of materials, music, instruments. (ARS list is made available only to purveyors of goods and services for recorder players.) vited to be inventive in finding individual ✰ Information on all aspects of playing the recorder means of expression, either in the musi- cal interpretation or through dance or U.S./Canadian membership: ❏ one year $40, ❏ two years $75 movement. Furthermore, the composer Foreign membership: ❏ one year $50, ❏ two years $95 advises us, “The pieces of this collection U.S./Canadian Student* membership: ❏ one year $20 ❏ two years $40 are designed to stimulate the player to re- ❏ ❏ produce the melodies with the help of the Foreign Student* membership: one year $25 two years $50 movement of the whole body, i.e., flute = Workshop membership: ❏ one year $60 Business membership: ❏ one year $120 recorder, motion = movement. Try hum- ❏ Address and/or phone information has changed in past year. ming the tune and dancing to it!” ❏ Do not list my name in Directory. As with all the Moeck publications in *Enclose proof of full-time enrollment. the Zeitschrift für Spielmusik series, every- All dues paid in U.S. funds by check on U.S. bank, or by international money order. thing is attractively laid out and impecca- bly presented. Music like this just might Family members residing at the same address may share a membership. However, the student rate is not applicable to a shared family membership. For an additional listing in inspire those of us who need an extra the ARS Directory under different surnames at the same address, add $5. nudge to get back to regular playing! Please check to be included on the ARS list of ❏ Recorder teachers and/or ❏ Professional performers. (Since your recorder activities PARTNERS IN HARMONY, BY GWEN- may change, you must indicate on each renewal if you want to continue to be listed.) DOLYN SKEENS. Sweet Pipes SP2377, 2001. ❏ S, Teacher Book, 27 pp, $5.95; Student I wish to contribute $______to help sustain the work of the Society. Book, 19 pp. $2.95. Please charge to my VISA/MASTERCARD: Partners in Harmony is a collection of #______Exp. Date: ______Cardholder’s signature______twenty-six different songs paired to make thirteen partner songs when they are NAME______PHONE (______) ______played simultaneously. These songs ADDRESS ______E-MAIL ______should be played separately or sung at CITY______STATE ____ ZIP ______first to familiarize young players with the CHAPTER/CONSORT AFFILIATION, IF ANY: ______tunes before combining them. Together, the results are fun and challenging for the OPTIONAL INFORMATION: just-past-beginner player, as the mostly Chapter officer or committee member? ❏ Yes (officer/committee: ______) well-known melodies combine to make ❏ No ❏ Have served chapter in the past interesting harmonies and rhythms. This Age: _____ For how many years have you played the recorder? _____ collection opens many practice and per- Level of recorder playing: ❏ Amateur ❏ Semi-professional ❏ Professional formance possibilities. The Student Book Annual income: ❏ Under $10,000 ❏ $10,000-30,000 ❏ $30,000-50,000 is for recorder and voice, and the Teacher ❏ ❏ ❏ Book contains everything in the Student $50,000-75,000 $75,000-100,000 Over $100,000 Book plus piano accompaniments for Portion of your income derived from music: ❏ All ❏ Some ❏ None every song. A unique Table of Contents in Portion of music income derived from the recorder? ❏ All ❏ Some ❏ None the Teacher Book takes the form of a tre- If all or some, what kind of recorder activities are involved? (Check all that apply.) ble staff for each pair of songs. Each staff ❏ ❏ ❏ shows the titles, the key signature, the Teach privately Teach/lead workshops Teach elementary school music ❏ Performance ❏ Recorder maker ❏ Musical director/coach range of notes used, and the page ❏ Other ______numbers. What type of recorder music do you play? (Check all that apply.) Bill Linthwaite ❏ Medieval/Renaissance ❏ Baroque ❏ Modern/pop ❏ Folk ❏ Solo ❏ Recorder Orchestra ❏ Chamber music with other instruments (such as LES INDIENNES GALANTES OU LES trio sonatas) ❏ with other instruments (such as a collegium) FOLIES FLAMANDES, BY ALVARO ❏ Consort involving three or more recorders playing one-on-a-part ❏ Grand consort GUIMARAES. Moeck 1593 (Magnamusic), (format used in many chapter meetings, with several recorders playing on each part) 2001. Four players (see below), 4 sc, 16pp each.$29.00. AMERICAN RECORDER SOCIETY MR. DAVIES’ DELIGHT, BY ROBERT W. P. O. Box 631, Littleton, CO 80160-0631, U.S.A. JONES. Moeck 1597 (Magnamusic), 2001. Fax (with handset down) or call in credit card renewals to 303-347-1181 SATB, sc 9 pp, pts 4 pp each. $24.00.

May 2002 25 MUSIC REVIEWS ARS PUBLICATIONS (cont.) Erich Katz Contemporary Music Series Members Non-Members Suzanne M. Angevine, A Short Tale for two basses (Level II) (2 scores) $ 5 $ 8 Peter Ballinger, Double Quartet for Recorders (Level II-III) (score & parts) $10 $18 WINDMASCHINE, BY JOHANNES SCHOLL- Anthony Burgess, Sonatina for Alto Recorder and Piano (Level II) (2 scores) $7 $12 . Moeck 1599 (Magnamusic), 2001. Cecil Effinger, Dialogue and Dance (SATB) (Level II-III) (score & parts) $10 $18 SSSS, 4 sc, 8 pp each. $21.50. Lee Gannon, Sonatine for three (Level III) (score & parts) $14 $26 (score, parts & demo cassette) $23 $43 Here are three fine new recorder quar- Erich Katz, Suite of Jewish Folk Tunes (S S/A8 A/T) (Level II) (three scores) $10 $18 tets from Moeck that belong to the same Vaclav Nelhybel, Six Short Pieces for Three Recorders, (AA/TT) (Level II) edited by Alan Drake (3 scores) $8 $14 series and share the same cover design. Yet Stanley W. Osborn, Kyrie and for soprano voice and recorders each is targeted to a different segment of (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14 the recorder market. Frederic Palmer, Entrevista (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14 Sally Price, Dorian Mood (SATB) (Level II) (score & parts) $10 $18 Les Indiennes Galantes ou Les Folies Fla- Jeffrey Quick, Picnic Music (SATB) (Level II) (score & parts) $ 5 $ 8 mandes [The gallant Indian women or Musical Editions from the Members’ Library: the Flemish follies] by Alvaro Guimaraes, a ARS members: 1 copy, $3 2 copies, $4.50 3, $6 4, $7.50 5, $10 6, $11.50 Brazilian-born Belgian composer, is a pow- Non-members (editions over 2 years old): 1 copy, $5 2 copies, $8.50, 3,$12 4,$15 5, $19.50 6, $23 The ARS is happy to provide photocopied enlargements of any Members’ Library edition at the same prices. erful and intriguing minimal work that will Please specify “Members’ Library Enlargement.” * = Editions not yet available to non-members. require a professional recorder consort to *Après Paul (David W. Solomons) Serie for Two Alto Recorders (Frederic Palmer) bring off. Its four movements bear partly Bruckner’s Ave Maria (arr. Jennifer W. Lehmann) Slow Dance with Doubles (Colin Sterne) mystical, partly ironic titles in a mixture of Dancers (Richard Eastman) *Sonata da Chiesa (Ann McKinley) German, French, and Italian. The first Different Quips (Stephan Chandler) Three Bantam Ballads (Ann McKinley) Elegy for Recorder Quartet (Carolyn Peskin) Three Cleveland Scenes (Carolyn Peskin) movement is called “Die Frage des Zucker- Elizabethan Delights Tracings in the Snow rohrs an die See: sous domino blanc” [The Los Pastores (arr. Virginia N. Ebinger) in Central Park (Robert W. Butts) New Rounds on Old Rhymes (Erich Katz) Trios for Recorders (George T. Bachmann) sugar-cane’s question to the sea: under the Other Quips (Stephan Chandler) *Triptych (Peter A. Ramsey) white cape]. Set for three basses and a great Poinciana Rag (Laurie G. Alberts) Two Bach Trios (arr. William Long) bass, it consists mainly of long sustained Santa Barbara Suite (Erich Katz) Two Brahms Lieder (arr. Thomas E. Van Dahm) Sentimental Songs (arr. David Goldstein) Vintage Burgundy pitches centered around the note D and brings to mind either conch shells or fog Other Materials from ARS horns. Movement Two, “La Sonate: sous ARS Information Booklets: domino bleu” [Bell: under the blue cape], ARS members: 1 booklet, $13 2 booklets, $23 3, $28 4, $35 5, $41 6, $47 7, $52 Non-members: 1 booklet, $18 2 booklets, $33 3, $44 4, $55 5, $66 6, $76 7, $86 is set for four tenors and builds up from Adding Percussion to Medieval and Renaissance Music (Peggy Monroe) even, sustained, bell-like quarter notes on American Recorder Music (Constance Primus) the pitch D to a cacophony of repetitive fig- The Burgundian Court and Its Music (Judith Whaley, coord.) ures, often pitting triplets against six- Improve Your Consort Skills (Susan Carduelis) Music for Mixed Ensembles (Jennifer W. Lehmann) teenths. Brief sustained solo passages here Playing Music for the Dance (Louise Austin) and there break away from the dense en- Recorder Care (Scott Paterson) semble. The third movement, set for four Education Publications altos, is titled “La Consonanza: sous domi- The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). no vert” [Consonance: under the green First copy free to ARS members, replacement copies for members or non-members, $3. Guidebook to the ARS Personal Study Program (1996). Material formerly published in the Study cape]. Here Guimaraes’ sense of irony is Guide and Study Guide Handbook, plus additional resources. Members, $11; non-members, $20. strongest. Far from being a music of con- ARS Music Lists (1996). Graded list of solos, ensembles, and method books. sonance, this movement features the dis- Members $8; non-members, $14. Package deal available only to ARS members: Guidebook and Music Lists ordered together, $15. sonant interval of a major second as its pri- Junior Recorder Society Leader’s Resource Notebook. ARS members, $20; non-members, $40 mary harmonic color. Often the four play- (updates at reduced rates after initial purchase). Special rate for previous purchasers of JRS Class Program, $15. Dues for each JRS student member sponsored by an ARS member, $5 ($4 each for ers perform the same rapid repetitive groups of 10 of more). JRS student members receive activities plus “Merlin” badges and stickers. patterns a major second apart, and the Other Publications modal quality of the other movements is Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering forming replaced by chromaticism. This movement an ARS chapter. ARS members, $10; non-members, $20 (updates free after initial purchase). is quite a bit more difficult than the others One free copy sent to each ARS chapter with 10 members or more. technically, and very difficult rhythmically. 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. It will require great concentration. The last Either single volume: ARS members $23; non-members, $28. movement, “Die Antwort der See an das Both Discography volumes together: ARS members only, $40. American Recorder: Cumulative Index for Vols. I-XXXX. ARS members, $20; non-members, $32. Zuckerrohr: sous domino noir” [The sea’s Index Supplement, Vol. XXXIV-XXXX. ARS members, $8; non-members, $14. answer to the sugar-cane: under the black All prices are in U.S. dollars and include U.S. postage and handling. For Canadian or foreign surface postage, cape], is centered around d' and d'' in its please add an additional $1 per item; for Canadian or foreign air mail, please add an additional predominantly sustained notes. Only two $3 per item. When ordering five or more items to be shipped anywhere at the same time, ARS Members may deduct an extra $2 on top of the discounted members' price. Please make checks payable to the ARS. of the players participate, one on soprano, VISA/MasterCard also accepted. the other on . Under the American Recorder Society last notes, Guimaraes offers the cryptic P.O. Box 631, Littleton, CO 80160-0631, U.S.A. phrase, “because you are dead, now and 303-347-1120 for ever more.” Mr. Davies Delight by American com-

26 American Recorder poser Robert W. Jones (1932-1997) is a work suitable for a quartet of moderately advanced or upper intermediate amateurs. It is in a fairly conservative neo-tonal idiom with just the right seasoning of dissonance to make it interesting without being threatening. Its attractive movements fea- ture largely polyphonic textures and in- clude a fast “Fanfare” and even faster “Reel,” with a slower “Pastorale” between them. The “Pastorale” contains a brief sur- prise section that borrows a few effects from the avant-garde. This passage is not difficult, but will require an experienced teacher to explain how it is to be per- formed. The only negative thing about this piece is that the individual parts are not melodically interesting. However, the mu- sic as a whole is worth playing and will be an enjoyable and rewarding experience. Johannes Schollhorn’s Windmaschine [Blower] for four soprano recorders is an avant-garde composition for children. The first movement, bearing the same title as the whole work, consists entirely of breath sounds played on the foot joints and bod- ies of the recorders. The second move- ment, called “Sirene” [Siren], is played on the head joints and features glissandi pro- duced by varying the size of the opening at the end with the palm. Movement Three, “Sackpfeife” [Bagpipe], also features glis- sandi, but on the whole instrument. The fourth movement, “Mundharmonika” [], has three of the players per- forming a simple repetitive melody in par- allel thirds while the fourth player plays the same rhythms on an open head joint. Head joint sounds are again featured in the last movement, “Trillerpfeife” [Signaling Whis- tle], this time with flutter tongue. The most difficult aspect of Windmaschine will be its notation. This music may not be great art, but it sure is fun. All of the editions are Baroque Chamber Music Play-Along CDs! beautifully prepared with excellent in- with Music and Performance Guides for Recorder Players structional and biographical notes in Eng- Hours of playing and PreDiscContinuo lish, German, and French. There are no enjoyment with early Early Intermediate bad page turns in any of them. music specialists Handel, Lully, Purcell, Corelli, Consort Music of Lassus, Dowland, “Seldom will any of us get to be Arcadelt & more accompanied by such fine players!” ZERRSPIEGEL I, BY VIOLETA DINESCU. “This is how practice The DiscContinuo Moeck 1592 (Magnamusic), 2001. should be!” Intermediate Recorder and flute (see below), 2 sc 10 pp “...Best of all, they pick the most Telemann, Marais, Handel, each. $20.00. EXCELLENT music! Frescobaldi & even more Zerrspiegel I (Distortion mirror I) is a DiscContinuo II Advanced Intermediate duet for a recorder player doubling on Bach, Philidor, Mancini, Handel tenor, bass, and (all notated in Cantata with soprano Susan Rode the treble ) and a flute player doubling Morris & even still more! on in G and in C. Di- TM nescu uses a sound-layering approach To order postpaid, send checks for $ per item plus S & H charges ($ for fi rst item; $. each additional item) with little melodic content. The most com- to KATastroPHE Records,  Florio Street, Oakland, CA , or call () -. mon elements in this music include rapid Visit our website at note groups, repeated sustained tones www.katastrophemusic.com.

May 2002 27 MUSIC REVIEWS (cont.) Mollenhauer, Yamaha,

Kung with microtonal pitch differences in the enlivened much of Telemann’s instru- Recorders repetitions, tremolos, and complex multi- mental writing. phonic configurations, the details of which The Concerto in A Minor is for ad- are largely left to the performers to realize vanced players but doesn’t rise to the lev- through improvisation. The scores are in el of a virtuoso piece. It is accessible to Competitive file form and are facsimiles of the compos- anyone who is comfortable with the Prices er’s manuscript. The piece will be effective greater part of Telemann’s trios. This edi- in the hands of good professional tion of the concerto is excellent. The edit- players. ing is intelligent with all changes clearly Pete Rose noted. This publication should be in the Quality instruments library of every serious recorder soloist sent on approval CONCERTO IN A MINOR, BY GEORG and anyone with an interest in the best of PHILIPP TELEMANN, ED. ILSE HECHLER. the recorder repertoire. Moeck 1052 (Magnamusic), 2000. A, gamba, str, and bc, sc 32 pp, pts. 4–12 pp. TWO SONATAS (1629), BY DARIO Personalized $40.00. CASTELLO, ED. BERNARD THOMAS. London service/advice In his autobiography, Telemann ex- Pro Musica LPM CS17 (Magnamusic), pressed a preference for trios over concer- 1998. S bc, sc 16 pp, pt 7 pp. $9.25. tos. It should come as no surprise, then, I have often been amazed by editor to find that over two dozen of his concer- Bernard Thomas’s enormous stream of Bill Lazar tos are scored for two solo instruments London Pro Musica publications. The [email protected] m and strings, and the lion’s share of those man must labor night and day to produce follow sonata da chiesa form—as exempli- the vast number of fine editions of early (408) 737-8228 fied by the present work. music to his credit. In particular, he has http://www.bill-lazar.com The Concerto in A Minor (TWV 52:a championed music of the early 17th cen- 1) is among Telemann’s most engaging tury, much of which would have re- works and ranks with his popular Con- mained unavailable to many performers. certo in E Minor for recorder, flute, and The present two sonatas by Dario Castel- strings and his Concerto in F Major for lo are a valuable addition to the catalog. recorder, , and strings, in its vital- Nothing is known of Castello’s life ex- ity, originality, and novel instrumental cept that which can be gleaned from the combination. The work is for alto title pages of his two collections of recorder and viola da gamba soloists and sonatas (of 1621 and 1629). He was an a string complement of violin, viola, and Italian composer who flourished in basso continuo. The scoring of the or- Venice during the early 17th century as chestra is interesting in itself. It is typical head of the wind musicians at San Marco for Baroque composers to dispense with cathedral, the musical hotbed that the viola in the ripieno, leaving two violins brought together the likes of Monteverdi, and continuo to provide the support. Marini, and Grandi. His output consists Here, however, the orchestral texture has of only 29 works. an uncommon richness, provided by the The sonatas presented here are the substitution of viola for the second violin, first two of Libro Secondo. They are exqui- that balances nicely with the diverse solo site examples of the early Baroque sonata. parts. Each is laid out as a series of sections of The first of the four movements is a contrasting tempo, meter, and style, the weighty introduction that could easily last of which is a climatic flourish. The stand alone. The following Allegro con- first sonata is a bit less demanding than tinues the interplay of the soloists set up the second, but neither is for the faint- by the opening movement, while con- hearted. This is music for the virtuoso. trasting them in solo passages and pairing The challenges go well beyond technical them in a variety of ways with the ripi- demands, however. These sonatas re- enists. The third movement is a calm oa- quire a deep understanding of early sis between the vigorous allegros. It re- Baroque Italian style; in particular, the duces the ensemble to the soloists and performer must delve into the rhetorical continuo for a short respite before the fi- nature of the works to express the com- nale, a rousing hoedown imprinted with plex sentiments hidden beneath the sur- the Polish influences that informed and face. And it is all up to the soloist, as the

28 American Recorder recitative-type accompaniment provides for the recorder and a bass instrument only the barest of interaction. doubling the continuo. One nicety too This publication meets the high stan- seldom seen is that the parts are printed dards we’ve come to expect from Bernard in score, which not only helps the players Thomas. I recommend it to aspiring vir- keep pace but affords an unobstructed tuosos and anyone interested in the pro- part for a continuo player who is capable fessional solo literature of the early 17th of improvising an accompaniment. The century. editing is judicious, with additions and corrections clearly indicated; the contin- SONATA IN F MAJOR, BY DIOGENIO BI- uo realization provides tasteful support. GAGLIA, ED. NIKOLAUS DELIUS. Moeck 1143 Thomas Cirtin (Magnamusic), 1999. A bc, Sc 12 pp, pts 6 pp each. $24.00. Thomas Cirtin is an acquisitions editor Diogenio Bigaglia (ca. 1676 to ca. at Sybex Inc., a computer book publisher, 1745) was lifted from the depths of ob- and a freelance writer. He has played the scurity by Frans Brüggen’s marvelous recorder since the age of 12 and obtained a SWEETHEART recording of his Sonata in A Minor for so- B.A. degree in recorder and early music per- prano recorder and basso continuo. Dur- formance from Oakland University, FLUTE CO. ing the three decades since, modern edi- Rochester Hills, Michigan, under Lyle Nord- tions of several of Bigaglia’s chamber strom. He performed professionally for 10 Baroque Flutes: our own “Sweetheart” model works have appeared. Now we have a fine years and has published critical editions of Fifes, Flageolettes edition of his Sonata in D Major, trans- Baroque music. “Irish” Flutes & . posed to F major to accommodate the al- Send for brochure and/or to recorder. Little is known of Bigaglia. A THE RECORDER FROM ZERO: A SYS- antique flute list. contemporary of Vivaldi, he was a priest TEMATIC APPROACH FOR BEGIN- in Venice (known as Padre Beneditto Bi- NERS ON THE SOPRANO RECORDER, 32 South Street Enfield, CT 06082 gaglia in some sources) who produced a (2ND EDITION, VOL. I), BY CHARLES P. F IS- (860) 749-4494 modest amount of music—mostly litur- CHER. Unicorn Music UM001 (www. [email protected] gical and other sacred music and secular buyrecorders.com), 2001. 27 pp. $17.95. www.sweetheartflute.com cantatas. His body of instrumental music The first edition of The Recorder from comprises 14 solo sonatas (12 of which Zero was published in a handwritten for- were published as opus 1, ca. 1722), four mat in 1975. It was welcomed by the concertos, and a handful of trios. recorder-teaching community as an un- The present sonata, taken from a man- usual method using Medieval and Re- uscript source, does not quite rise to the naissance music, as well as folk and Eng- level of the well-known A minor sonata. It lish country dances, to teach beginning is nonetheless a worthy addition to the adults or children. The book consisted of repertoire. A sonata da chiesa with lyrical 40 lessons, called units, some only a half- slow movements and energetic allegros, page long, and could be completed in this work is approachable by intermedi- about a year with diligent practice. ate-level players. Of particular interest is Though intended for use with a teacher, the passage work in the second move- the method began with some rudimenta- ment: Much of it lies in the low register, ry instruction in musical theory and the making it a good technique-building ex- offer of a cassette tape containing per- ercise. A soloist who can make those pas- formances of the exercises and the sages sparkle is on the way to becoming teacher’s part of the duets. an accomplished performer. The Recorder from Zero was favorably This is a high-quality edition that con- reviewed by Maurice Whitney in AR, Vol. sists of a keyboard score and sets of parts XVII, No.1, May 1976. Whitney praised The Recorder from Zero was welcomed by the recorder-teaching community in 1975 as an unusual method using Medieval and Renaissance music, as well as folk and English country dances. Even though I called this method a “must buy” at the time, I was dismayed by its handwritten format. I was, therefore, very much pleased to discover that Charles Fischer had put out a second edition completely re-set in Finale.

May 2002 29 MUSIC REVIEWS  (cont.)

the use of excerpts from early music as Write or call for free catalogs “appropriate, commendable, and a dis- tinguishing feature in the field of recorder and specify areas of interest. methods.” This first edition had a num- ber of other commendable features, in- Boulder Early Music Shop cluding an informative introduction de- P.O. Box 428 scribing the different recorders then (and now) commonly in use, namely Renaiss- Lafayette, CO 80026 sance, Baroque, and neo-Baroque, some excellent ear-training and rhythmic exer- Monday through Friday: cises, early attention to articulation, snip- 10:00 am - 5:30 pm pets of musical theory, sections on tuning (a bit dense, but perfectly accurate and understandable), Renaissance divisions, 1822 Powell Street and even, near the end, a couple of pieces Erie, CO 80516 without bar lines. The chief complaint of those who saw 800.499.1301 the first edition was the format. While the note calligraphy was neat and readable, 303.926.4301 the method book was so crowded with Fax: 303.926.4302 handwritten instructions as to be rather E-mail: [email protected] intimidating, particularly for beginners. Even though I called this method a “must Web: www.bems.com buy” at the time, I was dismayed by the format as well. I was, therefore, very much pleased to discover that Charles Fischer had put out a second edition (this is the first of two volumes with half the lessons of the earlier edition) completely re-set in Finale. Improvements in this edition include a much more readable and expanded mu- sical content, a table of contents, and a fingering chart. I like Mr. Fischer’s em- phasis on wide- recorders (now be- ginning to be affordable by amateurs), the new information on where and how to buy recorders and recorder methods, and information about the recorder on-line. Not all the changes are for the better. Gone are the lengthy and informative in- troduction, the theoretical and pedagogi- cal reminders, which I enjoyed, such as “What is the leading tone in this piece?” “Don’t forget to count,” etc., and much of the pedagogy. Ear-training exercises are relegated to the back of the book, where they may escape notice. This book is, however, for its musical content alone still of great value for recorder teachers and beginning players. A second volume is promised, finishing the 40 lessons of the first edition. Trans- The lations into many languages are also Recorder Magazine promised on Mr. Fischer’s website (www. we invite you to visit the site buyrecorders.com). A list of errata can be www.recordermail.demon.co.uk obtained on the website as well. Martha Bixler

30 American Recorder CHAPTERS ______& CONSORTS ______Chapters tune thirds, perform a Handel “premiere,” ______play triple-choir music, and make a videotape The March meeting of the Boston Recorder Society-West meeting in Con- News from cord, Massachusetts, continued its year- long exploration of the Musical Millenni- Central Arkansas um by moving into the 19th century with a look at music by Schumann, Schubert, Brahms, Mendelssohn, and others in a rich Romantic style. Coaches for the session The Aeolus Recorder Konsort (Cen- were Terry Meyers, Roy Sansom, and tral Arkansas Chapter), this year cele- Sheila Beardslee. brating its 20th anniversary, sponsored 1 The spring workshop of the South Bay a workshop in March with Martha (CA) Recorder Society , led by Bob Daw- Bixler entitled “The Many Faces of Or- The Thoma Family Players began son, was devoted to F , C , and G . In mu- lando di Lasso” at the Central Arkansas when 7-year-old Sam Thoma enrolled in sic by Brahms, Schütz, and Edvard Grieg, Library in Little Rock. a recorder class for children in the Ad- attendees concentrated on making the Twenty-three people participated, in- ventures in the Arts program at Pulaski thirds really in tune, using alternate finger- cluding players from Oklahoma, Texas, United Methodist Church taught by ings. On April 11, the Crones (South Bay Missouri, and Bella Vista, Arkansas, as Louise Rollefson, president of the local members Stevie White, Jean Ridley, Anne well as members of the local chapter. chapter. His mother, Melissa, also came Ng, Laura Gonsalves, plus Sonja Wilcom- An exchange student from Germany, to the lessons and was offered a recorder er) presented a short concert as part of an two high school students from a local to play at the lesson, too. His 13-year-old assembly for about 180 elementary school high school, and a local violinist inter- sister, Claire, had learned the soprano students at the South Valley Carden ested in the music of this era also were recorder at school, and Louise suggested School. They played a suite by Schein, “La present. Ms. Bixler, past-president of she try playing an alto. With these pieces donna e mobile” from Rigoletto, a contem- the ARS, led them through many pieces in place, a family ensemble was the natu- porary duet for recorders, and a including two double choir works. ral next step. The group and their teacher duet and then answered questions. In addition to offering private recently played “When I Survey the A new recorder quartet called Les recorder lessons, Ms.Bixler and Laurine Wondrous Cross” as a prelude at the Folies (Janet Beazley, Inga Funck, Claire Williams, a local recorder artist and church’s Friday night service. Rottembourg, and Ulla Sinz) will give the member of the ARS, played in the tele- “first-time-ever all-modern recorder pro- vised Sunday morning service at Pulaski gram in San Diego,” on June 22 at the United Methodist Church. Sushi Community Space at the ReinCar- nation Project in downtown San Diego, California. The group aims to “set high standards in its early music performances, 1. Louise Rollefson (left) and Martha while expanding the musical dimension of Bixler during a private lesson. 2. Norman the recorder into modern days and audiences.” Stoecker, ARS member from Chesterfield, At their April meeting, members of the Missouri, shows one of the instruments he Tucson (AZ) Recorder Society went off made to Andre Rollefson. 3. The Thoma into three separate rooms to rehearse the Family Players: Claire, Sam, and Melissa music. When they reassembled, they were ready to play triple-choir pieces by Gabrieli and Hassler led by Cherie Wescott. During

ADDRESS CHANGE FOR CHAPTER NEWS Chapter newsletter editors and publicity officers should change their records so that materials go to American Recorder, 7770 South High St., Centennial, CO 80122. 2 Send e-mail to [email protected]. 3

May 2002 31 CHAPTERS & CONSORTS (cont.) Play-the-Recorder Month, Wescott and of the Greater Denver (CO) Chapter in other members visited the Robins Elemen- April drew about ten players, three of them tary School to demonstrate the many dif- new to double- instruments. While ferent kinds of recorders. the original intent had been to limit the The Mid-Peninsula (CA) Recorder group to “soft buzzies,” there is an interest Orchestra taped a video program in mid- in introducing , , and cor- March. The video will be used as an asset netti to the mix. in future outreach efforts and also as a At their April meeting, the members of “permanent reminder of the talent and the Seattle Recorder Society premiered a dedication of those who make up the or- “new” concerto by George Frideric Han- chestra.” The group is saving toward the del, an SATB arrangement of three arias purchase of a contrabass. Having collected from his opera Alessandro. Called by its $1,795, they are almost there if they select creator Peter Siebert The Alexander Concer- a square-bore model and halfway there if to, the work was inspired by material in the they opt for a round-bore model. recorder tutor section of Peter Prelleur’s The revival of the Meggabuzzies section The Modern Musick-Master (1731). Play-the-Recorder Month Events In the News Princeton Chapter

The Princeton Recorder Society’s Play- that person joined last year after hearing us the-Recorder Month appearance at Mar- play at MarketFair.” Honeysuckle Music ketFair in West Windsor, New Jersey, re- The Montreal Recorder Society’s ceived banner headlines in the local Prince- 10th annual Play-the-Recorder Day, March ton Packet newspaper. Reporter Susan Van 24, was written up by reporter Jeff Hein- Recorders & accessories Dongen quoted Sheila Fernekes, a past rich in the Montreal Gazette under the ... president of the Princeton Recorder Soci- headline: “Not Child’s Play: Humble Music for recorders & ety and a member of the board of the Amer- recorder makes sweet music in the right ican Recorder Society: hands.” Mary McCutcheon organized 11 Jean Allison Olson “People don’t realize there’s a rich his- amateur groups, including a 16-member 1604 Portland Ave. tory to the recorder. They also don’t realize recorder orchestra, to play in the under- St. Paul, MN 55104 the recorder is more than a kid’s toy in- ground concourse of La Cité. One passer- 651.644.8545 strument, something you play before you by was on her way to the bank when she [email protected] play a real instrument. It is a real instru- was “stopped in her tracks” by the sound. ment and it has wonderful repertoire. “I’m interested in learning the flute, so I “The PRS is nice for people who played can get a start in music. Maybe I’ll start when they were younger but don’t any- with the recorder. I didn’t know the more. If you’ve been away from music for a recorder could sound like that. It’s got a while, it’s difficult to find groups to play nice sound, and it doesn’t take up as much with, especially for brass and wind musi- room as a piano.” Courtly Music cians. We can help people get started on Stars of the Greater Cleveland Chap- Unlimited the recorder, and if they want to advance, ter’s Play-the-Recorder Month event, at several of our members are teachers. It’s a the Joseph-Beth Booksellers on Shaker 800-2-RICHIE wonderful resource. Square, were Nancy Kennard’s five young “The ensemble work is one of the most Suzuki students, age 5 to 9, “playing every- (800 274-2443) enjoyable experiences you can have play- thing from memory in a poised and confi- www.courtlymusic.com ing the recorder. That’s why we do the pub- dent manner, paying attention to intona- lic performances like the one at MarketFair. tion, tone, and articulation.” Other well- "Everything for the recorder People hear the music and they’ll come up received member ensembles were the enthusiast, or those who to us and say, ‘I used to have a recorder, but Rosewood Consort (Marcianne Herr, Lin- would like to be." I haven’t played for ages.’ So we tell them da Hill, Jan and Jim Kintz, and Alan Pur- to dust it off, come out and join us. There’s dum), North Coast Consort of Viols Fine wood and plastic recorders, sheet a lot of fellowship. It’s a very warm, friend- (Nancy Kennard, Jim Kintz, Fritz music, method books, play-along CDs, ly group. Schaufele, and Edith Yerger), and the East- accessories, workshops. “We have a few people in their 70s, and West Players (Reiko and Tetsuya Sakuta, the youngest is a seventh-grader. In fact, Lee Kim, Carolyn Peskin, and Judy Post).

32 American Recorder OPENING ______MEASURES ______Two basic skills every musician needs

Every musician, amateur as well as pro- they introduce notes and rhythms gradu- fessional, needs a few special skills in or- ally, so you will not be overloaded. As you der to better understand the music he or become more skillful and confident, it she plays. The better you understand will be time to move on to other music: your music the more satisfying your mu- hymn books, folk tune collections, sic making will be. Reading music is one Baroque and Renaissance pieces, and any of these skills, as is playing by ear. These other music you enjoy playing. Continue two skills are complementary to one an- to devote a small amount of your practice other, and as though at opposite ends of a time specifically to sight-reading on an see-saw. Most musicians are quite good at ongoing basis. one of them and quite poor at the other. Reading music requires the ability to This lack of balance in your musical abil- 1) discern specific notes and mentally ities will hold you captive in what you can connect the written note to a specific pat- do, and keep you an outsider from what tern on fingers on the recorder, and 2) un- you can’t do. derstand the notation of rhythm, recog- How can one learn to read music bet- nize common rhythm patterns, and fig- ter or to play by ear? ure out unfamiliar rhythms. When you can already do something For number 1, play simple tunes from to a degree but want to improve your skill, methods, moving on to scales, arpeggios, I think the best approach is to go back to and other melodic patterns from notation an earlier stage of the skill and make cer- (as opposed to playing these patterns by tain that the basics are securely learned. ear, which is useful for other things). Two good sources of these patterns (to be used Music reading after the methods) are G. Rooda, Dexteri- For music reading, I suggest that you ty Exercises and Dances, and H. U. Staeps, play scales from notation (written music The Daily Lesson. and not by ear) as well as simple tunes. For number 2, begin with the meth- Choose material that seems way too easy ods, as they all introduce the basic for you. Devote five minutes of your daily rhythms. Make sure that you fully under- practice time to the scales (which will stand how note values add up, and how serve you doubly, in that they also make subdivisions fit into longer notes. Be sure excellent drills for your fingering skills) in particular that you understand dotted and another five minutes to sight-reading quarter/eighth-note patterns. If you don’t easy tunes. Sources of easy tunes include fully understand, or just feel less than recorder method books—-buy one or two confident with these rhythms, ask some- methods other than the one you began one to help you. Ideally you will already with (or borrow them from your recorder be taking recorder lessons and can ask friends) and sight-read one or more tunes your teacher for extra help in this area. If each day, beginning with tunes that seem you don’t have a teacher, consider start- very easy. ing lessons (valuable and inspiring in Gradually work through these books, myriad ways). If there are no recorder continuing on to Book 2s (many methods teachers in your area or you can’t afford have more than one volume, containing lessons (or for some other reason don’t progressively more difficult tunes). By the want to take lessons), ask a recorder-play- way, this is also an effective way to prac- ing friend to help you. ARS chapters are tice any size recorder on which you are good places to meet recorder players on a not yet very accomplished. variety of levels. You can ask these other An advantage to using methods for im- players for suggestions for teachers and proving your music reading skills is that for help in working out rhythms or learn-

May 2002 33 OPENING MEASURES (cont.) too difficult, give each other hints, such as which note the tune begins on. You can make this exercise as simple or difficult as you wish. ing new notes, or you could even form a sound right, try beginning on a different 3) Choose an easy melody and memo- group of players to get together and prac- note. Just guess. The more you try this, rize it. You can begin with a very short tice these issues in the context of consort the more skilled you will become. one- or two-measure bit or, if you are fur- music. 2) With a partner, take turns playing ther along, an entire song. Play it often by As you gain rhythmic skills, you can short melodies for one another. Your part- memory. Try progressively more difficult move on to playing pieces with more ner plays a short tune while you turn your and longer tunes. By the way, memorizing complex rhythms, such as Baroque back; then you try to repeat the tune. your difficult passage in pieces of music sonatas or Renaissance music of all kinds. Tunes can be invented on the spot, or can take you a long way toward overcom- played from a book of tunes. If at first it is ing the difficulty. Playing “by ear” 4) Experiment with making up your Playing by ear is simply playing with- own melodies. You can choose a particu- out written music. You might be playing As you practice playing by lar style in which to improvise—Scottish something by memory, or picking out a ear and music reading, /penny tunes, Renaissance tune you know, or making up music— dance, Baroque prelude, or any other— noodling as it is called, or when it is more you will notice that your or you can simply let your ear and your purposeful, improvising. All of these overall playing begins to fingers take you where they will. modes of playing have a great effect on Both playing by ear and improving your fingering skills and general intimacy improve in many ways, your music reading are very rewarding with your chosen instrument. It is won- and this will mean that skills to practice. As you practice them derful to be able to play in the dark! you can play more over time, you will notice that your over- You can develop the ability to play all playing begins to improve in many without music in a variety of ways. Here difficult music and that ways, and this will mean that you can play are some suggestions: you will be able to play more difficult music and that you will be 1) Think of a simple tune and try to able to play with greater freedom. Good play it on your reorder. Use any size with greater freedom. Luck and Happy Practicing! recorder. If at first you can’t make the tune Frances Blaker

Adding Percussion to Medieval and Renaissance Music by Peggy Monroe

Just as you wouldn’t use to play , there are appropriate percussion instruments to use for added color in early music, especially in music for dancing. Monroe suggests how to choose instruments and provides ideas for playing them, caring for them, and using them creatively on your own. Order this information booklet and others in the series: ARS Information Booklets: Recorder Care, by Scott Paterson American Recorder Music, by Constance Primus Music for Mixed Ensembles, by Jennifer W. Lehmann Improve Your Consort Skills, by Susan (Prior) Carduelis Playing Music for the Dance, by Louise Austin The Burgundian Court and Its Music, coordinated by Judith Whaley Adding Percussion to Medieval and Renaissance Music, by Peggy Monroe Members: 1-$13, 2-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 Non-members: 1-$18, 2-$33, 3-$44, 4-$55, 5-$66, 6-$76, 7-$86 U.S. Postage and handling included. Canadian and foreign, Add $1 per item.

AMERICAN RECORDER SOCIETY bOX 631, lITTLETON, cO 80160 • 303-347-1120

34 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), postage and handling included. An updated listing of all available CDs may be found at the ARS web site: www.americanrecorder.org.

NEW LISTINGS! ____A JOURNEY AMONG TRAVELLERS (CD SHORT) Peter Bowman and Kathryn Bennetts ____TRIO ATLANTICA Lisette Kielson, recorders; perform Donald Bousted’s 26-minute quarter-tonal Julie Elhard, viola da gamba, Paul Boehnke, harpsi- piece for two alto recorders. $12 ARS/$14 others chord. Recently-formed early music group plays works by Bach, Telemann, Montéclair and Leclair. ____LANDSCAPES David Bellugi, recorders; Ali Trio Atlantica. $17 ARS/$20 others. Tajbakhsh and Chris Hayward, percussion. “Virtual” orchestra of recorders created single-handedly by Bellugi. Three centuries of ethnic music, including IN STOCK (Partial listing) works by Encina, Brouwer, Ortiz, Bartok. Frame. ____AIRES AND DUETS FOR TWO FLUTES AND ____SHINE AND SHADE Piers Adams, recorder; $17 ARS/$20 others. Julian Rhodes, harpsichord. Works of Norman BASS Vicki Boeckman and Dorte Lester Nauta, ____LES AMIS DU BAROQUE Paul Nauta, recorder; Mogens Rasmussen, viola da gamba; Fulton, Edmund Rubbra, York Bowen, Lennox recorder/Baroque flute; Koen Dieltiens, recorder; Berkeley, Edward Gregson, Stephen Dodgson, Viggo Mangor, and chamber organ. Trio Jan de Winne, Baroque flute; Christina Mahler, sonatas for two recorders and continuo by Handel, Donald Swann. $17 ARS/$20 others. cello; Shalev Ad-El, harpsichord/organ. Ensemble in ____SONGS IN THE GROUND Cléa Galhano, Telemann, G. B. Braun, T. Merula, S. Rossi. CD title plays music by Bassani, Corelli, Vivaldi, etc. Primavera. $17 ARS/$20 others. recorder, and Vivian Montgomery, harpsichord. Highlight Intl. $17 ARS/$20 others.. Works by Pandolfi, Belanzanni, Vitali, Bach and con- ____CELESTIAL WINDS I David Young, recorders; ____MANCINI: CONCERTI DI CAMERA Judith Lisa Franco, . Relaxing recorders accom- temporaries Thomas, Morrison and Setti, featuring Linsenberg, recorders; Elizabeth Blumenstock and songs based on grounds. Ten Thousand Lakes. panied by gentle harp. Universe Music. $17 Lisa Weiss, violin; George Thomson, viola; David ARS/$20 others. $17 ARS/$20 others. Morris, ‘cello; John Schneiderman, archlute & SUZUKI® RECORDER SCHOOL (FOUR VOLUMES) ____CHARLESTON PRO MUSICA Marsha Evans, ; Charles Sherman, harpsichord & Recordings to accompany the Suzuki® Recorder Lewis Fitch and others, recorders, , gui- organ. Seven sonatas by Francesco Mancini, plus School method books, with Marion Verbruggen, tar and voice. Medieval and Renaissance music. one work each from his contemporaries Francesco recorders. $17 ARS/$20 others, for each single CD, Millenium Music/Charleston SC. $17ARS/$20 oth- Durante and Domenico Scarlatti. “Highly recom- or $33 ARS/$40 others for any two Suzuki® CDs: ers. mended”citation from the 2000 Vivaldi Prize for ____Vols. 1 & 2 for Soprano: folk and children’s Recordings of Italian Early Music—Giorgio Cini ____CHARLESTON PRO MUSICA ON TOUR songs, Baroque dances Marsha Evans, Lewis Fitch and others, recorders, Foundation, Venice. Dorian. $17 ARS/$20 others. ____Vols. 3 & 4 for Soprano: Handel, de la Guerre, gemshorns, guitar and voice. Medieval and ____MIDNIGHT SUN Alison Melville and Colin others Renaissance music with consort and singers. Savage, recorders; with other members of Ensemble Millenium Music/ Charleston SC. $17 ARS/$20 oth- Polaris playing flute, clarinet, guitar, ‘cello, hurdy- ____Vols. 1 & 2 for Alto: folk and children’s songs, ers. gurdy, percussion. Traditional music from Sweden, Baroque dances ____Vols. 3 & 4 for Alto: Handel, J.S. Bach, Purcell, ____DANCE! RENAISSONICS John Tyson, recorder, Finland, Estonia, Norway and Scotland in new others pipe & tabor; James Johnston, violin; Reinmar arrangements. A Classic CD Disc of the Month, Seidler, cello; Douglas Freundlich, lute; Jacqueline August 2000. Dorian. $17 ARS/$20 others. ____TELEMANN: CHAMBER CANTATAS AND TRIO Schwab, virginials. Renaissance dances and ____MUSICK FYNE PLAYS MUSIC OF THE ITALIAN SONATAS Judith Linsenberg, recorders; Christine improvisations. Titanic. $17 ARS/$20 others. BAROQUE Alison Melville and Colin Savage, Brandes, soprano, and Jennifer Lane, mezzo- recorders; with other members of Musick Fyne. soprano, with members of Musica Pacifica. Five ____DISTRIBUTION OF FLOWERS Cléa Galhano, 17th- and 18th-century duos, trio sonatas, arias, cantatas from the Harmonischer Gottesdienst recorder; Tony Hauser, guitar. Latin CD featuring diminutions. Upbeat Classics. $17 ARS/$20 others. (soprano with recorder and continuo, or mezzo- works by Argentinian virtuoso Astor soprano with violin and continuo); plus two trio Piazzolla. Ten Thousand Lakes. $17 ARS/$20 others. ____MY THING IS MY OWN: BAWDY MUSIC OF THOMAS D’URFEY Tina Chancey, Grant Herreid sonatas from Sonatas Corellisantes (in the style of ____ENGLISH CONSORT MUSIC: BROWNING MY Corelli). Dorian. $17 ARS/$20 others. DERE Marion Verbruggen and Flanders Recorder and Scott Reiss, recorders and other early instru- Quartet (Bart Spanhove, Paul Van Loey, Joris Van ments; Rosa Lamoreaux, soprano. Common tunes of love, sex and seduction in 18th-century England, Goethem, Geert Van Gele). Subtitled work by Please indicate above the CDs you wish to order, collected by D’Urfey in his “Pills to Purge Henry Stonings, “The leaves be greene” by William and print clearly the following: Byrd, other 16-17th century consort works. Melancholy,” used as vehicles for improvisation. Qualiton. $17 ARS/$20 others. Koch International. $17 ARS/$20 others. Name ______NEO-MEDIEVAL Tina Chancey, Grant Herreid, ____THE FOOD OF LOVE Tina Chancey, Grant Daytime phone: (_____) ______and Scott Reiss. Medieval improvs for a postmodern Herreid and Scott Reiss, recorders and other early Address: ______age. Dorian Discovery. $17 ARS/$20 others. instruments. Early instrumental music of the British City/State/Zip: ______Isles, with works by Byrd, Gibbons and Simpson ____PERGOLESI: LA SERVA PADRONA Elissa through Dowland, Playford and Coperario. Dorian. Berardi, recorder; Julianne Baird, soprano; John Check enclosed for $17 ARS/$20 others. Ostendorf, bass-baritone; Philomel Baroque _____ single CDs x $____ = $______Chamber Orchestra. Title work, an opera buffa from _____ 2-CD sets x $____ = $______IMAGINE II David Young, recorders. More con- 1733, with Vivaldi, “Recorder Concerto in A,” nes- TOTAL = $______temporary interpretations of classic songs from the tled as an entr’acte between the two comic opera 1970s by Neil Young, Jim Croce, Carole King, and acts. Omega. $17 ARS/$20 others. Please charge the above amount to my MasterCard Moody Blues. Universe Music. $17 ARS/$20 others. ____POPULAR MUSIC OF THE RENAISSANCE, or Visa: ____JOURNEY Wood’N’Flutes: Vicki Boeckman, Anne & Rob Burns (A Reasonable Facsimile) play #______Exp. Date: ______Gertie Johnsson & Pia Brinch Jensen, recorders. recorders, shawm, , Renaissance guitar, straw Seven centuries of recorder, from the Middle Ages fiddle, and a variety of drums, whistles, and pipes. Cardholder’s signature: ______to the present, including works by Dufay, Machaut, Second From the Bottom. $17 ARS/$20 others. Henry VIII, Mogens Pederson, W.W. Van Nieuwkerk ____A. SCARLATTI: CONCERTI DI CAMERA Judith Mail to: AMERICAN RECORDER SOCIETY,Box 631, & Matthias Maute, performed by the new Linsenberg, recorders; with other members of Littleton, CO 80160-0631, U.S.A. You may fax recorder trio Wood’N’Flutes. Kadanza Classics. Musica Pacifica. Seven sonatas for various instru- $17 ARS/$20 others. mentations.. $17 ARS/$20 others. or call in your credit card order to 303-347-1181. CLASSIFIED CONSIDER ADVERTISING IN ______Full page ...... $540 2/3 page ...... $400 1/2 page ...... $330 1/3 page ...... $255 1/4 page ...... $200 Where the haves 1/6 page ...... $155 1/8 page ...... $115 and have-nots 1/12 page ...... $ 85 of the recorder world 1 column inch ...... $ 50 Prices include web site/e-mail link directly from can find each other your ad in AR On-line (www.recorderonline.org). Circulation: Includes the membership of the American Recorder Society, libraries, and music organizations. FOR SALE: A lifetime collection of recorder music. Published five times a year: January, March, May, 10 books for $10. State preferences. Geoff King, September, November. 201 Village Parkway, N. Augusta, SC 29841, or ge- Reservation Deadlines: December 1, February 1, [email protected].. April 1, August 1, October 1. FOR SALE: Moeck Rottenburgh maple tenor, ex- Rates good through November 2002. Please inquire cellent condition, in original case w/documents, about discounts on multiple-issue contracts, inserts, or other special requests. Extra charges for $300. Nice Alpine maple alto, $60. typesetting, layout, halftones, and size alterations. [email protected]; 808-396-9644. 133-line screen recommended. Advertising subject to acceptance by magazine. First-time advertisers FOR SALE: Soprano crumhorn, from London EMS must include payment with order. kit $365. Bass crumhorn, by Kelischek Workshop, For more information, contact with case, $850. Both in excellent condition. 815- Steve DiLauro, Adv. Mgr. Calling all LaRich & Associates, Inc. 623-5753. 15300 Pearl Road, Suite 112 Strongsville, OH 44136-5036 Teachers... AMERICAN RECORDER seeks articles on 440-238-5577; Fax: 440-572-2976 recorder: history, performance practice, artists and E-mail: [email protected] Leaders... repertoire, education, instrument building, etc. Al- so, photographs and reports of news events. Will Young Recorder Players... consider artwork, poetry, riddles, puzzles. Modest honoraria by special arrangement. Send inquiries ADVERTISER INDEX The Junior Recorder Society is a to: ARS, Box 631, Littleton, CO; 303-347-1120; AMERICAN ORFF-SCHULWERK ASSN...... 30 three-year enrichment program for ele- e-mail: [email protected]. AMERICAN RECORDER SOCIETY . . . . . 3, 25, 26, 34, 35, 36 mentary recorder students. The program SCHOLARSHIPS for recorder players to attend STEPHAN BLEZINGER...... 29 includes the Leader’s Resource Notebook recorder/early music weekend workshops during JEAN-LUC BOUDREAU ...... 28, IBC which: the year. Apply two months before funding is BOULDER EARLY MUSIC SHOP ...... 30 • Reviews four of the most popular teaching methods for beginning needed. Weekend workshop scholarships are COLLINS & WILLIAMS ...... 36 recorder students made possible by memorial funds set up to honor COURTLY MUSIC UNLIMITED...... 32 • Outlines how to start a JRS club Jennifer Wedgwood Lehmann and Margaret De- DOWANI AMERICA ...... 23 • Provides teaching tips from several Marsh. Contact ARS, Box 631, Littleton CO 80160; HONEYSUCKLE MUSIC ...... 32 303-347-1120; [email protected]. points of view KATASTROPHE RECORDS ...... 27 • Gives information on individual MUSIC REVIEWERS for AR needed. Reviews must BILL LAZAR, MOLLENHAUER...... 28 and consort techniques be submitted by e-mail or on disk. Please send a MARGRET LÖBNER RECORDERS ...... 22 • Has references for both the brief bio with a list of the types of music you are in- teacher and student KEITH E. LORAINE ...... 29 terested in reviewing to Connie Primus, Box 608, • Materials include Folk Music, MAGNAMUSIC DISTRIBUTORS ...... BC Recorder in History, and Music Georgetown, CO 80444, or [email protected]. MOECK VERLAG ...... IFC of the Modern Age MOLLENHAUER RECORDERS ...... IBC Classified rate for American Recorder: 60¢ PRESCOTT WORKSHOP ...... 22 per word, ten-word minimum. “FOR SALE” For more information or to enroll your PROVINCETOWN BOOKSHOP...... 27 group, contact: and “WANTED” may be included in the copy without counting. Zip code is one THE RECORDER MAGAZINE ...... 30 word; phone, e-mail, or web page is two. SCOTT REISS, RECORDER, IRISH WHISTLE...... 27 P.O. BOX 631 Payment must accompany copy. Dead- RECORDER SHOP ...... 30 LITTLETON, CO 80160 lines are one month before issue date. VOX 303-347-1120 FAX 303-347-1181 SWEETHEART FLUTE CO...... 29 Send copy with payment to: ARS, Box E-MAIL: [email protected] VON HUENE WORKSHOP, INC...... 33 631, Littleton, CO 80160. WEB: WWW.AMERICANRECORDER.ORG DOMINIK ZUCHOWICZ...... 32

36 American Recorder