march 2006 Published by the American Recorder Society, Vol. XLVII, No. 2 XLVII, Vol. American Recorder Society, by the Published ©2006 Yamaha Corporation of America. All rights reserved. www.yamaha.com thoughtful choiceforteachersthatcare. Playful withseriousqualityYamaha isknownfor, Yamaha Recordersarethe effortless controlandanaccuracyofintonationthatprovidesarich,fullsound. range.Theyoffertheidealamountofairresistancefor are easytoplayinevery Yamaha 20SeriesRecordersarespeciallydesignedforbeginningstudentsand Pink colorsaddthatextrafunforstudentsbeginningtheirmusiceducation. students aresuretoenjoy. SourAppleGreen,CottonCandyBlueandBubbleGum The world’s mostdependableandchosenrecordersarealsotheplayfulthat Edition Moeck 2825
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0DJQDPXVLF'LVWULEXWRUV,QF 32%R[6KDURQ&7 3K RU867ROO)UHH EDITOR’S ______NOTE ______Volume XLVII, Number 2 March 2006
t comes as no surprise to those of us FEATURES I involved in making music that the arts, Recorder Charmer ...... 10 and music in particular, help our brains The third interview in a series on jazz and pop recorder players, remain nimble as time marches on. in which Dudley-Brian Smith describes playing recorder in Whether the study is of nuns and priests. Charmer and Smithfield Fair, or seniors in Sweden, whether the results by Frances Feldon are reported from Australia, the U.S. or the 10 U.K., the conclusion stays the same: The First Recorder? Some New Contenders ...... 14 music, especially playing music with oth- by Anthony Rowland-Jones ers, helps retain brain function as we age. Living proof of the truth of that axiom Summer Workshops ... and Beyond ...... 21 is Anthony Rowland-Jones (below), who turned 80 years young on February 17. (The report is DEPARTMENTS that he was 14 Advertiser Index ...... 48 fêted with a Chapters & Consorts ...... 34 wild boar feast in cele- Classified ...... 48 bration of Compact Disc Reviews ...... 32 the event.) In this issue’s Music Reviews...... 38 article (page On the Cutting Edge...... 29 14), one of a 34 Opening Measures ...... 30 series he has contributed President’s Message ...... 3 to AR that are ON THE COVER: Tidings ...... 4 accompanied Angel playing a duct-flute (?recorder) Awards: Distinguished Achievement Award to Marion Verbruggen with dazzling in the Rosary windows visuals, he continues his quest via of Evreux Cathedral, and Presidential Special Honor Award to Constance Primus; France (probably iconography to find the “first recorder.” c.1387-1400). Philomel, Carolina Baroque and other ensembles in the news This issue is full of reports about Photo: Christian Brassy. recorder players, young and old—news of © 2006 another octogenarian, Dale Higbee, and Carolina Baroque (page 8); an interview with the rather younger Dudley-Brian GAIL NICKLESS, Editor Smith, who plays recorder in Scottish Contributing Editors folk-pop group Smithfield Fair FRANCES BLAKER, Beginners; JOHN H. BURKHALTER III, Book Reviews (page 10); and announcements of THOMAS CIRTIN, Compact Disc Reviews; JODY L. MILLER, Education awards to Marion Verbruggen and CONSTANCE M. PRIMUS, Music Reviews; CAROLYN PESKIN, Q & A Constance Primus (page 4). Connie TIMOTHY BROEGE, 20th-Century Performance LISA SCHMIDT, Design Consultant keeps music reviews moving smoothly through AR, in the same way that Marion Advisory Board keeps notes flowing smoothly through her Martha Bixler • Valerie Horst • David Lasocki recorder performances. Bob Marvin • Thomas Prescott • Catherine Turocy Last, and certainly never least, is Kenneth Wollitz the annual compilation of recorder Copyright © 2006 American Recorder Society, Inc. workshops (page 21)—mostly occurring Visit AR On-Line at
6 American Recorder PRESIDENT’S MESSAGE ______Moving right along
n February, the Albuquerque, NM, finding potential Board members) than it stand how ARS can I chapter graciously hosted the Board’s was to get a slate of Board nominees. connect with differ- winter meeting. Not only did we have a Board members Amanda Pond, ent segments of the productive meeting, but we got to talk to Marilyn Perlmutter, Ann Stickney and recorder world. This the local recorder players, play music Jerry Kaplan, and along with two attor- is yet another way we together and share lots of good food. neys, are charged with the task of review- hope to hear your Board meetings are a wonderful ing the ARS By-laws. They will ensure opinion. opportunity for the Board to visit that all sections of the By-laws are consis- If you really want recorder players around the country, and tent, have the best interest of members to voice your opinion to continue the dialog on the relationship and the organization in mind, and will and have an audience with the ARS among ARS, local chapters and the larger productively serve ARS for years to come. Board, have your chapter invite it to your recorder community. Many members We strongly believe that the majority city or town for one of its semi-annual —from the Albuquerque chapter and of the Board should continue to consist Board meetings. The Board loves to elsewhere in New Mexico—shared won- of elected members if possible, and that receive invitations, and we try our best derful ideas about how to enhance these its members should fairly represent the to move around the country and visit as relationships. We tried to persuade some varied voices of the North American many chapters as possible. Hosting a of these folks to run for the Board recorder community. We are also making Board meeting is not hard to do—in fact, themselves, or at least to serve on an ARS sure that our By-laws comply with the it’s similar to organizing and running a committee! statutes of the state of Missouri, the chapter workshop—and we are an easy- home of the ARS office. Keep watching in going and entertaining group (even if I If you really want to voice your ARS Newsletter for future announce- say so myself). Please don’t hesitate to ments regarding By-laws changes. contact me if you are interested. your opinion and have In addition to the By-laws referen- Of course, the opportunity nearest at dum, you should also be on the lookout hand for each of you to express your an audience with the for a new ARS survey or two. With the opinion is on the enclosed ballot, on ARS Board, have your help of Jennifer Lee, assigned to work which you may choose five ARS mem- with ARS through the Business Volun- bers who will replace those Board mem- chapter invite it to your teers for the Arts, we’ll be inviting mem- bers leaving office this fall. Please vote! city or town for one of bers to take a new and improved online Wishing you a musical spring, chapter survey. We are also planning Alan Karass, ARS President its semi-annual other targeted surveys to better under-
At each Board meeting, after a potluck supper hosted by the local chapter, we have an open forum. This is an opportu- nity for those attending to ask questions about the organization, and for the Board to discuss current projects. In Albuquerque, we outlined some By-laws changes that will go to a full membership vote by the end of the year. The need for these changes became evident while preparing for the current Board elections. The Board realized that the election process spelled out in the By-laws was unnecessarily arduous. We knew something was wrong when we noticed it was harder to compile a Nomi- nating Task Force (those charged with
March 2006 7 TIDINGS ______Award recipients announced, ______National Flute Association focuses on the Baroque flute Marion Verbruggen is Next ARS Distinguished Achievement Award Recipient more than one specific area of achieve- Recorder Competition in Bruges, the ment. In addition, the recipient should Nicolai Prize for the Performance of have a high public profile and have had Contemporary Dutch Music, and the significant influence in North America. Erwin Bodky Award for Early Music. The Board felt that Verbruggen’s Verbruggen’s performances through- accomplishments and influence fit this out North America, Europe, Africa, Japan description. and Australia have drawn legions of fans to She joins past recipients, each of whom the instrument. Her technical virtuosity has had a similar impact on the recorder and impeccable style have dazzled world: Friedrich von Huene, Bernard newcomers and long-time recorder lovers Krainis, Shelley Gruskin, Nobuo Toyama, alike. Her collaborations with contempo- LaNoue Davenport, Martha Bixler, rary composers have profoundly enriched Edgar Hunt, Eugene Reichenthal, Frans the repertoire for the instrument. Brüggen, Valerie Horst and Pete Rose. Her diverse discography includes Verbruggen’s full biography would take music ranging from 17th century Spanish During the 2006 Berkeley Festival, the far more space than is available here, but songs and theatre music to her own tran- ARS Distinguished Achievement even a short version aptly shows how scriptions of J.S. Bach ’cello suites. Award (DAA) will be presented to important she has been and continues to Countless students in conservatories, Marion Verbruggen, the world- be to the recorder—not only in North workshops and master classes around the renowned recorder virtuoso and America and her home country of The world have benefited from her insightful ambassador for the recorder to the world. Netherlands, but around the world. and inspiring teaching. Through her per- In choosing a DAA recipient, the ARS After completing conservatory studies forming, teaching and recording she has Board is charged with honoring an with Brüggen, Verbruggen was invited to been and continues to be a quintessential individual whose work with the recorder join the faculty at the Royal Conservatory advocate for our instrument. has been at a high level, has extended over in The Hague, The Netherlands. Her Verbruggen will be present to receive a long period of time, and has spanned prizes include the first International the award during the 2006 Berkeley Festival, set for June 4-11 in Berkeley, CA.
The ARS is planning various activities during the Berkeley Festival (see
8 American Recorder Constance Primus to receive ARS Presidential Special Honor Award
At the recent ARS Board meeting, As a member of the ARS Board that has overseen the creation and Constance Primus was selected as the for 14 years, she helped develop the ARS operation of the Recorder Music Center 2006 recipient of the Presidential Education Program and the Junior at Regis University in Denver. Special Honor Award. This award was Recorder Society, and served as The award will be presented to established by the Board in 2003 and is the organization’s president from Primus during the ARS events set granted at the discretion of the ARS 1990-1994. to coincide with the biennial Berkeley President, with full Board approval. It Currently, she is music reviews editor Festival, June 4-11 in Berkeley, recognizes and honors individuals who of American Recorder magazine and is CA. Please check the ARS web have made special contributions to the active as a performer and workshop site,
The Exhibition: First Congregational Church, June 8, Noon-5 pm; June 9-10, 10 am-5 pm. Exhibition Admission is free. Presented by Early Music America
PRODUCED BY CAL PERFORMANCES IN ASSOCIATION WITH THE DEPARTMENT OF MUSIC, UNIVERSITY OF CALIFORNIA AT BERKELEY, THE SAN FRANCISCO EARLY MUSIC SOCIETY, AND EARLY MUSIC AMERICA. The 2006 Berkeley Festival & Exhibition is dedicated to the memory of Laurette Goldberg (1932 – 2005).
Centennial Season Sponsor: Season Media Sponsors:
March 2006 9 Bits & Pieces
NewART (New Amsterdam Recorder Bell (Madison, WI), Gonçalo Lourenço pleasure garden tunes, and concert and Trio), with recorderist Nina Stern, joined (Lisbon, Portugal) and Jeff Snyder (New salon music by Purcell, Handel, Haydn Parthenia for a concert of recorder con- York City, NY). and Boccherini. sort and viol consort music in New York Bell‘s two-movement Uisge Beatha The National Flute Association City, NY, in February, entitled “Double (Water of Life) is flavored with the tradi- (NFA) convention set for August 10-13 in Delight.” Members of NewART are tion of Celtic dances and is described as Pittsburgh, PA, will feature Baroque flute. Rachel Begley, Daphna Mor and Tricia “a rousing celebration of the fellowship of NFA will host a meeting of over 3000 pro- van Oers. existence.” Lourenço writes an anthem of fessional, student and amateur flutists. February also heard the recorder trio the Portuguese soul in Alma Mater, depict- Prominent U.S. and international flutists Tarantella play in answer to “the spider ing the sadness, strength and vivacity of will be presented in a multitude of con- bite in all of us—the part that is open to the Portuguese people. Counterpoint of certs, competitions, panels, workshops Art, Love, and Nature.” The trio, based in textural and timbral ideas is the focus in and exhibits. For information and a regis- the Boston (MA) area and performing Snyder’s Dance Suite, an abstract variation tration form, see
10 American Recorder An open Baroque flute master class will Kim Foreman, an officer and business be given by Stephen Schultz, founder of representative for AFM Local 174-496. the American Baroque Orchestra and “It really helps musicians in this time of principal/solo flutist with the Philharmo- need to be able to play an instrument.” nia Baroque Orchestra. Forman said that the local plans to Other workshops and lectures include store and sort the instruments in a Karen Garrison discussing “The Flute rehearsal hall in the local’s headquarters. in the 17th and 18th Century” and It welcomes all kinds of donations. Betty Bang Mather with insights on The union local distributes a news- Bach’s Partita. letter to its members that lists the The NFA has over 6000 members in instruments they have to give away. The 50 countries. Founded in 1972, the newsletter will have an application form NFA annually sponsors a convention The three-CD set—complete with notes for eligible musicians to fill out, to ensure and competitions for professionals and libretti in French, German and that donated instruments are getting to and students, commissions new English—was released on the CPO label the right people. compositions for the flute, maintains a for the June 2005 BEMF. Immediately in “New Orleans has long been known for large library of flute works, and publishes July 2005, BEMF’s Ariadne was released its music,” said AFM president Tom Lee. The Flutist Quarterly. worldwide on the Naxos label. “It is especially important during this time The first commercial opera Generous support for people affected that its musicians are able to practice and recording of the Boston (MA) Early by Hurricanes Katrina and Rita has perform their craft while the city rebuilds. Music Festival (BEMF)—Johann Georg been shown in many different ways. For We urge individuals and companies to Conradi’s Ariadne—was nominated musicians who have lost the tools of their contribute in any way they can.” for a Grammy Award in the category trade—their instruments—American For more information, or to donate an of “Best Opera Recording of 2005.” Federation of Musicians (AFM) Local instrument, call 504-947-1700 or e-mail First performed to critical and public 174-496 of New Orleans, LA, is holding
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March 2006 11 Recorderists in News and Reviews
In the October 2, 2005, Milwaukee (WI) Near the review’s conclusion, he went contributes to his happiness in his Journal Sentinel, Tom Strini’s review— on, “High drama is the longest reach for longevity. “Higbee has never regretted his entitled “Recorders taken beyond twitter- the recorder. Verbruggen, Ogg and decision to major in psychology instead ing: Early Music Now program explores Carrai attained it in J.S. Bach’s Sonata of music. He points out that only a instrument’s range”—posted glowing BWV 1034. Galhano joined them at the very small percentage of professional accolades to the performance by top in Bach’s Trio-Sonata BWV 1027/1039. musicians make an adequate living recorderists Marion Verbruggen and The recorders produced an array of financially. Also, with music as an Cléa Galhano with gambist Phoebe subtleties, including biting attacks, fine avocation, he has been able to perform Carrai and harpsichordist Jacques Ogg. gradations of staccato and legato, and a the music he chooses to perform. Profes- “Verbruggen and Galhano dispatched surprising range of dynamics, to inflect the sional musicians don’t always get a Telemann’s abundant, antic chromatic line and the drama.” choice, playing what they are hired to runs in the unaccompanied Duo [V] with In the February 7 Salisbury (NC) Post play.” the aerobatic ease of swifts picking insects arts editor Sarah Hall interviewed The interview was a precursor to the out of the air. [Hotteterre’s Premiere Suite Carolina Baroque’s Dale Higbee. The February 10 Carolina Baroque per- de Pieces, Op. 4], also unaccompanied, is octogenarian recorder player is a clinical formance of “Music’s Golden Age: Bach, all atwitter with ornaments. The recorder psychologist by training, although he Handel and Mozart” (see the ARS CD players integrated them seamlessly into started playing recorder 50 years ago— Club for several Carolina Baroque CDs). the rhythmic and metric flow and made after playing flute for 20 years before that In Hall’s review of that event, she amusing gestures of them, from violent (and at one point considering studies at pointed out that defining “golden age” shakes to sly turns,” commented Strini in the Juilliard School of Music). might vary depending on the individual one part of the review. His professional background, making the designation—but that cer- coupled with his musical activities, puts tainly the high Baroque and the period him in the unique position to offer encompassing Mozart’s career fell neatly “Essentials for a Fulfilling Life,” a sidebar into that descriptive category. The Courtly Music accompanying the article. In addition to program “ventured beyond the group’s his advice there regarding diet, exercise, usual Baroque boundaries in planning Unlimited and being open to new experiences, the this performance, including music of list includes having “A passion, which W. A. Mozart in honor of the composer’s 800-2-RICHIE can be one’s occupation, hobby or 250th birthday this year.” (800 274-2443) special interest. For Higbee, that is Hall mentioned that, in transcribing Baroque music and Carolina Baroque.” the larger works for “reduced forces,” www.courtlymusic.com Hall’s interview mentioned, “At Higbee’s recorder playing assumed the Harvard, he studied flute but chose to role of “’mini band’” playing parts "Everything for the recorder major in psychology. He also ‘minored in originally scored for other instruments, enthusiast, or those who Boston Symphony.’ He witnessed Kous- such as oboe and trumpet....Higbee would like to be." sevitzky’s last season, attending concerts played with finesse, never upstaging the regularly with his student season ticket, singers, and keeping good balance Fine wood and plastic recorders, sheet which in those days cost only $28.” with the other instruments, whether music, method books, play-along CDs, She brought out more on this musical performing an ornate counterpoint or a accessories, workshops. facet of Higbee’s life that certainly sustained chorale melody.” A Musical Cruise of the Mediterranean It’s always interesting to hear the recorder in a new repertory and in an unusual venue. On February 5, the excellent recorderists Daphna Mor and Nina Stern joined to play such a concert at The Stone, a “listening” room in the East Village section of Manhat- tan in New York City, NY. There are many music clubs in the neighborhood, but The Stone is unusual in that it is only for listening: no food or drink is served, but the room is more like a club than a concert hall. About 40 eager listeners gathered to hear Mor and Stern and their collaborative musicians Omer Aviel, double bass and oud, Tomer Tzur, percussion, and Uri Sharlin, accordion. Except for two 14th-century pieces from Italy and England, the program consisted of traditional music of Armenia, Macedonia and Greece. The slow, plaintive, Dorian-mode-oriented Armenian pieces were especially effective. Using tenor recorders, Mor and Stern exchanged melody and drone functions, to the accompaniment of the double bass or oud with percussion. To the River was especially beautiful. The accordion joined the ensemble for the rowdy dance party pieces, often doubling the soprano recorders at the octave to good effect. Congratulations to Mor and Stern for venturing into this alternate repertory. With their musicality and accomplished technique, they made a good case for the inclusion of the recorder in traditional Balkan and Armenian music. By performing in a non-traditional venue they introduced the recorder to an audience that might not otherwise hear it—and the more places recorderists can find in the larger world of music, the better. Anita Randolfi
12 American Recorder Order your recorder discs through the ARS CD Club!
The ARS CD Club makes hard-to-find or limited release CDs by ARS members available to ARS members at the special price listed (non-members slightly higher). All CDs are $15 ARS members/$17 Others unless marked otherwise. Add Shipping and Handling: $2 for one CD, $1 for each additional CD. An updated listing of all available CDs may be found at the ARS web site:
NEW! ____FOLIAS FESTIVAS Cléa Galhano, recorders; ____RENOVATA BY ERWILIAN Jordan Buetow, Belladonna. 16-17th-century music by Falconieri, de recorders et al. Recorder from the Garklein to Tafalla, Merula, others. Dorian. Bass lead an ensemble of exotic and unique ____THE FOOD OF LOVE-HESPERUS Early ____SONGS stringed instruments on a journey through both instrumental music of the British Isles, with works IN THE GROUND energetic and expressive melodies. A purely by Byrd, Gibbons & Simpson through Dowland, Cléa Galhano, organic, acoustic experience, Erwilian shapes Playford & Coperario. Dorian. recorder, Vivian Montgomery, harpsichord. their unique sonic blend traditional melodies with ____FOR NO GOOD REASON AT ALL Scott Songs based on grounds by Pandolfi, Belanzanni, distinctly modern influences. Wood, Wind & Wire Reiss, Bruce Hutton and Tina Chancey sing and Vitali, Bach, others. 10,000 Lakes. Productions. play over 30 early and traditional instruments. ____SWEET FOLLIA, THE RECORDER ON TWO ____LOS ANGELES RECORDER ORCHESTRA Hesperus's first crossover CD, fusing Medieval & CONTINENTS Ensemble Caprice. Matthias Maute Thomas Axworthy, conductor. Debut performance. Renaissance music with Appalachian, blues, Cajun, & Sophie Larivière, recorders. Selections by 32 members playing recorders from contra bass to vaudeville, swing. Recorder heard as jug, blues Purcell, Morley, Maute, Couperin, Van Eyck, others. sopranino, a repertoire from Renaissance to harmonica, pan pipes—and, of course, recorder. Atma Classique. Contemporary. ____GATHERING: HUI; folk melodies from China ____TASTE OF PORTIQUE L'Ensemble Portique. ____TELEMANN CANONS AND DUOS and 17th-century Europe, with crossover collabora- Features a selection of early and contemporary L'Ensemble Portique. A double disc set of music tions among Cléa Galhano, recorder, Belladonna chamber music that L'Ensemble Portique for two recorders, Canons mélodieux and Sonates Baroque Quartet, and guest Gao Hong, Chinese recorded and performed in its inaugural sans basse, by Georg Philipp Telemann featuring pipa. Ten Thousand Lakes. 2002-2003 season, including Bach, Telemann Lisette Kielson and Patrick O'Malley. $30. ____HANDEL: THE ITALIAN YEARS Elissa Boismortier and others. LEP Records. LEP Records. Berardi, recorder & Baroque flute; Philomel Baroque ____TELEMANN ALLA POLACCA REBEL– ____VIVALDI: SHADES OF RED: CONCERTOS Orchestra. Nel dolce dell’oblio & Tra le fiamme, two Matthias Maute, recorders & traverso–play concerti & SONATAS FOR RECORDER & STRINGS important pieces for obbligato recorder & soprano; and suites by G.P. Telemann. Matthias Maute & REBEL. Stylish, high octane Telemann, Trio in F; Vivaldi, All’ombra di sospetto. ____TELEMANN CHAMBER CANTATAS Musica readings of some of Vivaldi's most beloved pieces. ____MANCINI: CONCERTI DI CAMERA Pacifica Five cantatas from Harmonischer Included on this disc are the popular and raucous Judith Linsenberg, recorders. Musica Pacifica plays Gottesdienst, plus two io sonatas from Sonatas Concerto alla Rustica, the stunningly colorful Marais’s complete works for 2 treble lines and bass Corellisantes. 2003 Chamber Music Sonata on La Follia, and four of Vivaldi's with varied instrumentation and orchestrations. America/WQXR Record Award for best chamber exuberant recorder concerti. Bridge. 2CD set. EMI Records/Virgin Classics. $30. music recordings of the year. Dorian. ____MIDNIGHT SUN Alison Melville & Colin ____TELEMANN: DUOS POUR FLUTES, IN STOCK (Partial listing) Savage, recorders; Ensemble Polaris. New Ensemble Caprice. Matthias Maute & Sophie ____ ARIAS, DUETS & BALLET MUSIC FROM arrangements of traditional music of Norway, Larivière, recorders & transverse flute, Alexander HANDEL OPERAS Carolina Baroque. Dale Finland, Estonia, Sweden, Scotland. Classic CD Weimann, clavichord. Six Telemann duos & sonatas Higbee, recorders. Live recording of a variety of Disc of the Month, August 2000. Dorian. alternate with five fantasies for clavichord by Maute. excerpts from operas of Handel, including Alcina ____RECORDER JAZZ Warren Kime, recorder. Atma Classique. and Giulio Cesare in Egitto. Original jazz charts with a great groove. ____TRIO ATLANTICA Lisette Kielson, recorders. ____ARLECCHINO: SONATAS AND BALLETTI ____REFLECTIONS, Music to Soothe and Uplift Works by Bach, Telemann, Montéclair, Leclair. OF J. H. SCHMELZER Ensemble Caprice Stuttgart. the Spirit. Eileen Hadidian, recorder & Baroque Trio Atlantica. Matthias Maute & Sophie Larivière, recorders; flute, with Celtic harp and ’cello. Celtic, traditional, ____ VIVALDI: LA NOTTE Concerti per strumenti Michael Spengler, gamba; Maria Grossman, harpsi- Renaissance & Medieval melodies. Healing Muses. diversi. Judith Linsenberg, recorder; Musica chord. Works by Schmelzer, Muffat, Vitali. Antes ____ SACRED & SECULAR CANTATAS OF J. S. Pacifica. Award-winning CD, featuring five Vivaldi Edition. BACH. Carolina Baroque. Dale Higbee, recorders. concerti, two sonatas. Dorian. ____ BACH & HANDEL: BAROQUE MASTERS Live performances of three cantatas, BWV 82a, ____VON PARIS NACH WIEN Duo Caprice Carolina Baroque. Dale Higbee, recorders. Excerpts BWV 202, BWV 209. Stuttgart. Matthias Maute, recorder & Michael from several operas and cantatas, recorded in 2002 ____SAMMARTINI: SONATAS & CONCERTOS Spengler, gamba. Works from Paris to Vienna by concert. FOR FLUTE Ensemble Caprice & Rebel. Matthias Rameau, Satie, Maute, J. Haydn, Chopin, others. ____BACH ARIAS, DUETS AND CHAMBER Maute & Sophie Larivière, recorders & traverso. Antes Edition. MUSIC Carolina Baroque, Dale Higbee, recorders. Extended concertos and sonatas by Sammartini & Live recording featuring Bach cantatas (BWV 140, Maute. Atma Classique. Please indicate above the CDs you wish to Wachet auf) & other works. ____SCARLATTI: CONCERTI DI CAMERA order, and print clearly the following: ____ BACH: MUSIC TO CHALLENGE THE Musica Pacifica, Seven sonatas for various instru- Name ______INTELLECT AND TOUCH THE HEART Carolina mentations, "no poor relations to the composer's Daytime phone: (_____)______Baroque, Dale Higbee, recorders. Cantata No. 21, much more widely-known vocal output.... Address:______All recorder players should certainly have Part One; Cantata No. 182. City/State/Zip: ______BAROQUE RECORDER CONCERTI this...!"—Early Music Review. Dorian. HESPERUS Scott Reiss and a Baroque chamber ____LUDWIG SENFL Farallon Recorder Quartet Check enclosed for ensemble perform recorder concerti by Vivaldi, featuring Letitia Berlin, Frances Blaker, Louise _____ single CDs x $___ = $______Telemann, Graupner, Naudot & Babell. Hesperus's Carslake and Hanneke van Proosdij. 23 lieder, _____ 2-CD sets x $____ = $______TOTAL first CD from 1988, re-released by Koch in 1999. motets and instrumental works of the German $_____ All recorder, all of the time. Koch. Renaissance composer. Please charge the above amount to my ____CONCERTI DI NAPOLI Matthias Maute, ____LES SEPT SAUTS: Baroque Chamber Music MasterCard, Visa or AmEx: recorders, and REBEL. Sonatas by Mancini, at the Stuttgart Court. Matthias Maute & Sophie #______Roberto Valentini, A. Scarlatti. Dorian. Larivière, recorders & traverso; Ensemble Caprice. Exp. Date: ______A. CORELLI Ensemble Caprice Stuttgart. Charming repertoire by Schwartzkopff, Bodino, Cardholder’s signature: ______Matthias Maute & Sophie Larivière, recorders; Detri. Atma Classique. Mail to: Michael Spengler, viola da gamba; Maria ____SOLO, DOUBLE & TRIPLE CONCERTOS OF ARS, 1129 Ruth Dr., St. Louis, MO 63122-1019 U.S. Grossman, claviorganum. Works by Corelli & BACH & TELEMANN Carolina Baroque, Dale You may fax your credit card order to Kuhnau. Antes Edition. Higbee, recorders. 2-CD set, recorded live. $24 314-966-4649. ARS/$28 others. Recorder Charmer Dudley-Brian Smith describes playing recorder in Charmer and Smithfield Fair by Frances Feldon This article is the third in a series on Smith and Dudley-Brian Smith, plus American jazz and pop music recorder play- Dudley-Brian’s wife Jan Smith] at some ers. (See the January 2005 AR for the initial point performed on the recorder. In 1984 article, an interview with jazz drummer and on the title track of Dancing in the Dust, recorder player Eddie Marshall. It was fol- there was a recorder trio featured within lowed in September 2005 by an interview the driving acoustic guitars, bass and with Terry Kirkman of The Association). percussion, and underscoring the Dudley-Brian Smith, based in Baton harmonized vocals. Rouge, LA, plays a number of instruments “Throughout my recording career, (including recorder) with the Scottish I have maintained a case carrying a music-influenced acoustic “folk/pop” band sopranino, soprano, alto and tenor and Smithfield Fair. Their music, both original a separate case for my pearwood bass. tunes and traditional songs, is exceedingly But eventually, I moved away from pleasant, and their CDs resound with an the recorder as Charmer became obvious Celtic spirit, which will resonate with the Scottish-tradition-based ensemble anyone who loves Renaissance music of the Smithfield Fair. The recorder gave way to The author performs chamber music British Isles. Smith’s occasional use of the tinwhistle—a dramatic change in the with Flauti Diversi, an ensemble specializ- recorder in their music reminds me of the sound and timbre. ing in Baroque/contemporary works, manner in which recorder is used in a “Then in 2000, Smithfield Fair and Danza!, a Renaissance mixed Renaissance mixed consort. remixed its 1998 album Highland Call consort. She teaches recorder and He came to my attention when he first (Centaur Records CRC5023) for Baroque flute privately at her studio in wrote to AR in response to reading re-release. During the process - unhappy Berkeley, CA, and is a regular conductor the September 2005 interview with Terry with the sound of the tin whistles - I was and faculty member at recorder workshops Kirkman. Here is an excerpt from his letter: given a cassette copy of Terry Kirkman’s throughout North America. Ms. Feldon unreleased recording of “Bird Outside My directs the SFEMS Recorder Workshop Window” with The Association. It was and teaches at Albany Adult School. I began playing recorder brilliant and sent me scurrying for my In September 2003, she traveled to in the late 1960s— recorder case. The tinwhistles were all Montréal to conduct the recorder primarily because of replaced with recorders and the improve- orchestra at the international festival Terry Kirkman and his ment was instantly apparent. Les Journées de la flûte à bec in her “On the next Smithfield Fair arrangements of George Gershwin work in The Association. recording–2000’s Cairdeas/Kinship tunes. Current projects include (Centaur Records CRC5024)–recorders exploring contemporary works for “I began playing recorder in the late were everywhere again and the traditional recorder and multiple percussion 1960s—primarily because of Terry Scottish sounds and harmonies seemed to and studying jazz recorder Kirkman and his work in The Associa- move closer to where The Association through courses at the tion. I fell in love with the recorder’s had left off. I continue to play recorder in Jazz School in Berkeley. organic, woodsy sound which so easily studio and live with Smithfield Fair meshed with acoustic guitars, upright (
14 American Recorder FF: I hope to get at the “essence” of your is very similar in tonality to the human music-making, or at least a bit of voice and gives you those long flowing I grew up in a large philosophical thinking about how recorder tones that are not necessarily as percus- fits into your music-making. sive, but complementary. Along with the musical family where DBS: Thanks for the opportunity to talk accordion, it’s a perfect contrast and gives about and promote recorder playing. I’ve more support to the melodic structure of everyone played long had a love affair with the instrument, songs. We also find in singing harmonies something and all and although Charmer used it more than that, occasionally, we’ll do a wordless sec- Smithfield Fair, we’re beginning to use it tion in which we imitate the recorder. family gatherings – more again. FF: What is your musical background, train- called ceilidhs FF: What kind of music do you play, and what ing and experience? Who were your mentors are your instrument(s)? Are there other growing up? Mentors on recorder? (pronounced kay-lee) musical activities—e.g., composition, DBS: I grew up in a large musical family arranging—you’d like to mention? where everyone played something and in Scottish traditions – DBS: With Smithfield Fair, our music is all family gatherings – called ceilidhs ended with everyone known as being traditional Scottish mate- (pronounced kay-lee) in Scottish tradi- rial, but as we’re Scottish-Americans, tions – ended with everyone singing singing together. there are other influences that give it a together. We also grew up in church broader feel. In our original works, the choirs, with my father as the choir director music is better categorized (if one must) as and both my grandmothers either music acoustic and vocal “folk/pop.” We have or voice teachers. So singing hymns in strong classical influences, backgrounds harmonies was a big part of our music – in sacred music and those come forward it still is. into the traditional approach—but also I’m also a product of school music dovetail very nicely in the acoustic pop programs – growing up playing in march- setting. ing and concert bands. As I grew, I picked In Smithfield Fair, I serve as principal up more instruments – curiosity, I sup- guitarist, multi-instrumentalist (mostly pose. “What sounds can I make with mandolin, bagpipes, recorders, but occa- this?” Singing and playing instruments sionally acoustic bass, harmonica and were never separate in our home. autoharp) and one of the lead vocalists. My biggest mentor was my father, I also fill the positions of arranger, main Baker Stevenson Smith, Sr. As a youth, he composer, researcher of traditional works, played in school bands and sang in church translator to/from Scots Gaelic/English, choirs directed by his mother. As a young producer, agent, publicist, manager and man before WWII, he graduated from driver. In small bands, everyone doubles high school bands to touring swing bands up. where he largely played upright bass, tuba or trumpet – all of which he taught me. He FF: How did you come to play recorder? was patient, insightful and passionate DBS: Though I was familiar with the about music. He was a strong spiritual recorder in Baroque and classical settings, leader and led our church choirs, but also I came to play the recorder in the mid- fostered in his children of love of music in 1960s completely through the work of its infinite variety. Terry Kirkman and The Association. The I have other people along the line folk coffeehouse thing was still happening who stimulated my interests—my grand- in Louisiana, where I grew up; when I mother who taught me most of the brought my soprano one weekend, other Scottish music of our heritage; my uncle people pulled out their recorders and I fur- Bill Smith who loaned me countless Dudley-Brian thered my education. It was one of those recorder music books and continues Smith with a instruments that just seemed a natural in the hymn singing tradition in our tenor in the folk music’s largely acoustic settings. family; Martin Schreiber, my first late 1980s pipe major (in bagpipe bands); my FF: In what special way does it serve your high school choir director Dorman “musical voice?” How is it distinctive from Clayton taught me volumes about the other musical voices you use? ensemble workings and arranging; DBS: Because the music that I play is and then, there were people like largely “guitar-driven,” you get a lot of per- Terry Kirkman who just impressed cussive implications that are picked up by and astounded me and made me the acoustic bass and the bodhran (Celtic hungry not only to listen and enjoy, drum). The recorder presents a voice that but also to create music.
March 2006 15 Dudley-Brian Smith (r, bass recorder) and brother Bob Smith (l, tenor) in a late 1970s Charmer performance of O, Sacred Head Now Wounded (which had guitar accompaniment played by brother Joel Smith, not shown in the photo) FF: What, if any, genre or idiom do you think recorder is especially suitable for? DBS: I really believe the recorder is uncharted territory in many ways. With the exception of Terry Kirkman’s work in The Association and a few isolated instances, the [pop music] recorder hasn’t come to prominence in a big way. We need a Yo-Yo Ma or a Jerry Douglas [bluegrass/crossover musician described as the Jimi Hendrix and the Charlie Parker of acoustic music] of the recorder. But, I think it’s wide-open. There are so many opportunities in newer acoustic music forms where the recorder would be limitless and very well suited—especially in the new acoustic pop music being created. Folk, pop, jazz, gospel, tradition- al forms and hybrids – all have so much appeal to recorder players.
FF: What characteristics of the recorder lend it to successful expression in pop/jazz? DBS: That same airy tonality that easily FF: Have you had any special experiences matches vocals is perhaps the biggest playing recorder in your work? charisma of the recorder. Such a decep- DBS: I have many, but one of my earliest tively simple instrument that gets over- studio experiences was to lay down a two- looked, it has amazing potential for part recorder solo in a song we’d just melodic exploration. That woodsy tone of recorded. I’d never done it before—even it can be a great contrast to other instru- though I’d seen Terry Kirkman play two ments, too, and creates a real atmospheric recorders at once. The use of technology shift in a song’s arrangement. Just listen to in multi-tracking really gave me the impe- the smoky, mystical tone Terry Kirkman tus to do some of the multi-recorder parts gets at the end of “On a Quiet Night” from I’ve since done. …In the studio, I learned Insight Out – it really expresses the tone of I could put it all together myself—from the whole work. Terry’s intro to “Time it is conception to final product—saving time Today” on The Association Live album and money. That one experience has con- shows the mood-setting power of the tinued to open doors for me, in that I’ve tenor. become known as an improvisational player. Given the right key – I’m there and ready. We need a Yo-Yo Ma FF: What are the advantages/disadvantages or a Jerry Douglas ... of using recorder in your work? DBS: The greatest advantages are the airy, soaring possibilities of the recorder [play- of the recorder. ing] melodically, and the textures it can add to the atmosphere of a work. With practice and increasing confidence in the FF: How/what do you recommend for instrument, it’s an awesome sound— practicing recorder in jazz/pop context? and I find when I’m working with it, DBS: I’ll have to echo Terry on that one [in I only want to do more. I’ll have to start the interview with Kirkman, September writing more specifically for the recorder’s 2005 AR]. Learn to play the melody of use. songs and then branch off to the The immediate disadvantage is the lim- accompaniment and harmonic structures. itation of keys [in equal temperament]. Reading what’s already on the page gives I can play a lot of sharps and flats, but insights into what will and will not work. when you’re recording, accurate intona- You’ll eventually train your ear to hear tion is crucial. It’s better to use the promi- other parts, but start off playing melodies nent scale that’s there on the instrument – and then harmonies. playing in the key of the instrument.
16 American Recorder FF: List any recordings you’ve made FF: Any recordings you would recommend using recorder, including musical group, with recorder? Any recordings you would date, label and catalogue number—as well recommend specifically to recorder players— as availability. ones not necessarily using recorder? DBS: With Charmer: The group I was in DBS: Now that the work of The Associa- from 1973 to 1989 – Charmer – used tion is out on CD, it would be easy to pick recorders a lot. Although their albums are and choose and make a compilation of largely out of print, they can be found “best recorder tracks” – but the one that occasionally on ebay and in cut-out bins still gets me is The Association/The Associa- where vinyl is still sold. Most of tion from 1969. Listen to how Terry Charmer’s eight albums have some integrates the recorder with those incredi- recorder parts on them, as Charmer was ble vocals and gives spine-chilling texture. really known as a band that used a lot of recorder – Jan, Bob and I all played FF: If you were stranded on a desert island, recorders. If you can find [it], 1984’s what three recordings would you like to have Dancing in the Dust has some wonderful along? ensemble parts and some fun soloing. DBS: I would seriously hope I could have With Smithfield Fair: The remixed The Association/The Association (known as versions of 1998’s Highland Call has a “The Stonehenge Album” for the cover wonderful version of the Runrig song art) or perhaps a compilation of favorite “Cearcall A Chuain” – replacing the tin tracks from The Association like “On a whistle with a sopranino recorder to Quiet Night” from Insight Out, wonderful effect. Smithfield Fair’s 2000 “No Fair At All” from Renaissance, and the release Cairdeas/Kinship features soprano requisite “Windy” and “Along Comes as the lead on the Gaelic song “S Ann An Mary”; also Jimmy Spheeris’s brilliant Isle Eile” (A Song of Islay); a tenor/soprano of View (which I put on and get out my recorder duet, and then a trio with man- tenor, to play along with Lee Calvin dolin, on “Walk The Highlands”; and Nicoli’s flute); and probably Richie accordion and soprano on “Swept Away.” Havens’s Grace of the Sun – it always There is also some sweet soloing on makes me play along. My guitar playing soprano on 2001’s The Winter Kirk was greatly influenced by Havens’s use of (Stevenson Productions SP122890) – open tuning – which I still use, and which a collection of sacred songs. really is fun to play recorder over.
A 2005 photo of Dudley- Brian Smith at historic Anderson Fair (in continuous operation, hosting folk/original music troubadours, since the 1960s in Houston, TX)
March 2006 17 THE FIRST RECORDER...? Some New Contenders by Anthony Rowland-Jones ome of the material in this article has the face of the advancing Ottomans, but S appeared in my two-part article “Iconog- the bone-flute has not yet been more raphy in the history of the recorder up to closely dated; it is possible that it could c.1430” published in the November 2005 be before 1400. and February 2006 issues of the Oxford Uni- Campin adds, “Maybe isotopic versity Press journal Early Music, to which analysis of the bone might pin its origin I would refer readers wishing to study the down, but the museum staff wouldn’t early history of the recorder in greater depth. even let me take photos.” Tess Knighton, editor of Early Music, kindly As both Frederick Crane and Hermann agreed to this; and I should, in addition, like Moeck show in their research publica- to acknowledge the help given me by Nicholas tions, bone-flutes with seven or more Lander, webmaster of the Recorder Home holes are extremely rare. With their Page, who has also written on the Medieval naturally built-in narrow bore, all recorder. In particular, I would draw readers’ bone-flutes overblow easily—so that, if attention to the 14th- and 15th-century carefully made, they could play a complete entries in his Recorder Iconography catalog octave with only three finger-holes. It is at
18 American Recorder In my 1999 article, I said that Illustration 1. Upper sections of two of the three lancets the earliest likely of bay 15 (also numbered 17) of the Rosary windows at recorder represen- Evreux Cathedral, probably c.1387-1400. It will be noted tation in France that the restored medallions are large single circular was in a stained- pieces of unleaded glass. This shows six of the 27 angel- glass window in musicians; the angel playing a (?)recorder, illustrated Bourges Cathe- on the cover of this issue of American Recorder, is the dral, high up and lowest in the left lancet. Author’s photo. little restored, and securely dated to 1408-09. Illustration 2. An instrument Detail that may be a showing recorder is carved the single on a chair-back piece of from the Duke of glass with Burgundy’s abbey the recorder at Champmol in the Rosary near Dijon, dated windows 1399 (installed of Evreux 1401), but its Cathedral. identification is Photo: problematic. Christian The museum Brassy, with at Douai possess- thanks for es a fragment of an allowing its altarpiece show- use here and ing a shepherd on the cover. playing a rather recorder-like pipe, but this is of Catalan the same Paris workshop, as the “Royal” origin. With much uncertainty, it is stylis- windows high in the choir, which were in- tically dated to the 1390s or thereabouts stalled in 1390-98, having been (it is illustrated in part 2 of my Early Music commissioned by Pierre de Navarre and article). Charles VI, King of France. During the By a brilliant piece of observation, 14th century, the Counts of Evreux were Christian Brassy of Le Havre, a specialist connected by marriage with the French in Medieval instruments, spotted a monarchy. Moreover, the Counts were probable recorder high up in the Rosary also Kings of Navarre, which borders both One of the stained-glass windows in the cathedral at Aragon and France. Evreux, between Rouen and Paris. His Archives from this period, now in photograph appears on the cover of this Pamplona, attest to the lavishness of the new contenders issue of American Recorder, and mine musical establishments of the Navarre showing the part of the large area where it courts. Both King John of Aragon—and is an actual artifact, can be found is illustration 1. another neighbor across the Pyrenees in The 27 medallions with angel- France, the Count of Foix—had late 14th- but undated, and there musicians in these windows were century compositions in the Chantilly ruthlessly restored in a rather pre- Codex dedicated to them. Singers of this are three iconographic Raphaelite style in 1893, but the angel incredibly complicated and rhythmically playing the duct-flute seems to have subtle three-part music may easily have representations of escaped the restorer’s zeal, as it still has substituted a recorder, with its secure heavy leading across the angel’s face, and intonation, for a vocalized or non-texted duct-flutes, one archival his rubbed-off right eye has not been part, “so that pitches should remain replaced. Fortunately, the whole of the correct” (to quote a contemporary writer). duct-flute is on one piece of glass (illustra- This web of circumstantial evidence reference and one literary tion 2)—but, unfortunately, the lower strongly suggests that the instrument in finger-holes are blurred, making it illustration 2 is intended to be a recorder. reference, all of which difficult to be absolutely sure that it has Opinion varies as to when this section of the number required for unambiguous stained glass was installed; it seems to relate to the existence of identification as a recorder. have been later than 1387, but before The Rosary windows were almost 1400. One scholar gives the date of the recorder before 1400. certainly made at the same time, and in installation as 1397.
March 2006 19 Illustration 3. Folio 197v of the Casanatense Missal, Royal Library, Windsor Castle, MS 25010, c.1390-1408. The Royal Collection ©2006, Her Majesty Queen Elizabeth II. Credit for the next “discovery” goes to Arnold den Teuling, archivist at Assen in northern Holland, who shares my interest in recorder iconog- raphy. At an exhibi- tion in Nijmegen, he noticed angel- musicians in one of two sheets extracted some- time around 1864 to 1878 from a missal with music, now in the Casanatense Library in Rome. This missal probably belonged originally to Jean d’Armagnac, archbishop of Auch in Gascony from 1390 to 1400; and then belonged to Jacques d’Armagnac, Duke of Nemours, the great-grandson of Jean, Duke of Berry. The two sep- arated sheets eventually became the property of the Royal Library at Windsor Castle. One of them, folio 197v, shown as illustration 3, is a “Majestas” bordered by 16 musical angels. The second angel down on the right plays what is al- most certainly a recorder of soprano/alto size (illustration 4). The artist has shown the upper (right) thumb out- stretched beneath the foot of the instrument—of which two tion, especially of the lower notes. This the instrument, and the fingers are are clear, not in line, and possibly a third. detail suggests that the artist might have curled over, with the wrists low to Moreover, the bell-end seems to be been copying an actual instrument. facilitate control of the thumb-hole. smaller in diameter than the body of the Note how he has twisted the recorder All fingers are down, but, presumably instrument. This probably reflects slightly towards the viewer to deliberately, are shown bunched up in narrowing of the bore: recorder-makers ensure recognition of an unfamiliar order to reveal the finger-holes nearest to use such constrictions to improve intona- instrument.
20 American Recorder Illustration 4. Angel-musician in the right border of fol.197v, The Royal Collection.
The prob- later pointed out that this instrument lem with this has a crudely drawn window/labium ... recorders may recorder is less (see illustration 5). with identifica- An examination of the position of the have been known tion than of finger-holes—ignoring the placement of dating and the hands in shawm position—confirmed throughout the entire location, which that this is a recorder, not a shawm. The the Nijmegen instrument has paired little-finger holes, Kingdom of Aragon. exhibition cat- which can be found on both shawms and alogue gives as “Avignon or Northern recorders, but the angel’s lip position is France (?), c.1390-1408.” If it were before far too relaxed for shawm-playing. 1400, the representation would be as The other two instruments shown with significant as the Catalan and Evreux angel singers in this painting of the Virgin images—but after 1400, fairly accurate and Child are a small harp and a gittern— recorder representations became more both soft instruments associated with the frequent. Virgin Mary. A loud shawm would be Relatively few illuminated manuscripts entirely out of place here. can be precisely dated, as they may be the Alas, this painting cannot be precisely work of several scribes and illuminators dated, but it is stated to be earlier than over a period of years, particularly if the 1400. What is especially interesting is that text is lengthy and richly illuminated. The the artist, Enrique de Illustration 5. Detail of a recorder-playing angel from the “Master illuminator of this part of the missal is Essencop (the “Mas- of Longares,” Enrique de Essencop, Mare de Déu del Lliri, Museu thought to be an unknown miniaturist ter of Longares”) has Nacional d’Art de Catalunya, Barcelona, Inv. 64025, before 1400. from the Duchy of Guelders, of which shown us a non- Photo: Calveras / Mérida / Sagristà. Nijmegen was the capital, but illumina- beaked recorder, not tors usually moved to the places where of the same design as they had important commissions. A that appearing in Pere location at Avignon, where the closest Serra’s Tortosa altar- stylistic comparison is dated 1390, would piece and in the be especially significant—as Howard paintings derived Mayer Brown, on convincing musicologi- from it. He must have cal grounds, suggested that the recorder seen a different might have originated in the highly recorder from the cultivated Papal court there, although I instrument copied by have not yet managed to find any icono- Pere, confirming the graphical evidence to support his theory. existence of a plurali- This could be the first “discovery” of a ty of recorders at the recorder representation from Avignon. time. This is by no As well as Paris, “Northern France” means the only could be assumed to include Bourges and representation of a other sumptuous courts in the Duchy of non-beaked recorder, Berry (stylistically a strong contender), or and some present-day the Duchy of Burgundy, which ultimately folk duct-flutes are stretched northwards to Flanders and blown that way. Brabant, with courts at Brussels, Lille and Furthermore, Lon- Cambrai. gares is far from Not surprisingly, two of the three Barcelona where remaining contenders derive from the Pere Serra was a Kingdom of Aragon. They were found by court painter. It is Jordi Ballester of Barcelona’s second uni- near Saragossa, an versity. In 1996, when I was preparing a important city sup- three-part article for the Spanish Revista de porting a royal court, Flauta de Pico (6, 7 and 8, 1996-97), I took 150 miles east of note of several recorder representations Barcelona. We know in the fine collection of altarpieces in from what I shall the Museu Nacional d’Art de Catalunya say later that there (MNAC) in Barcelona. were recorders at In one of them, I saw a smallish wind- the Saragossa court, instrument with a flange at the blowing sent from Valencia end—which I immediately assumed to be (200 miles to the the lip-supporting pirouette of a shawm, south!), another city and therefore looked no closer. Ballester with a royal court.
March 2006 21 Illustration 6. Pere Serra, detail of an angel recorder-player from Mare de Déu dels Angels i sants, the central panel of an altarpiece for the church of Santa Clara, Tortosa, ?c.1385-90. Museu Nacional d’Art de Catalunya, Barcelona, before recent restoration, Inv. 3950. Photo: Calveras / Mérida / Sagristà. Pere may have copied an actual recorder, which he could easily have borrowed from a court musician. The clumsy placement of the fingers, however, shows that he did not use a player as a model.
evidence, might be as early as 1375. It is unlikely to be after 1390, when Pere seems to have become inundated with other major commissions. The high quality of the draftsmanship and painting, and the impression of confi- dence it gives, suggest to me, however, that Pere produced it after he had gained maturity as head of the most important studio in the Kingdom of Aragon. I there- fore now prefer a dating of “?c.1385-90.” Since 1997, Angelo Zaniol, formerly professor of French and romance phi- lology in Venice, Italy (who has not only written widely on the early recorder, but has made excellent instruments based on pre-Baroque models), has concluded that Pere may have copied an actual recorder, which he could easily have borrowed from a court musician. The clumsy placement of the fingers, however, shows that he did not use a player as a model. But Pere had noticed the low wrist position required for ease of thumbing. In the original picture, Pere marked where the maker had misplaced fingerhole 4 and then filled in this first attempt. As a maker himself, Zaniol had experienced Had Enrique seen recorders at the Duke of Berry at Bourges, and with the how careful one has to be in placing and Saragossa? As Ballester points out, Auvergne at Riom. sizing this hole, so that both the flat and recorders may have been known through- But let us first return to what Ballester natural fourth are in tune in relation to the out the entire Kingdom of Aragon. This has called “the eye of a musical hurricane” recorder’s bottom note. Errors of this kind would include its northern capital, at Barcelona. are all the more likely to occur in making a beyond the Pyrenees at Perpignan, now Readers who can look back to my new and unfamiliar instrument. in France. And it seems more than likely article, with 11 illustrations, in the Unfortunately, these faint markings that they might be found in the courts of November 1997 AR will note the impor- were painted over during a recent restora- neighboring territories, such as Navarre tance attached to the workshop of Pere tion, and some other changes made, so (with its connections with Evreux and Serra—both with regard to his own paint- that my illustration is of the Pere Serra Paris) and Foix, perhaps even in Toulouse. ings and with those of his pupils—in angel as I saw it in 1996. Although Pere Moreover, from 1394 an Aragonese depicting early recorders. The soprano- has placed the unused paired little-finger pope, Pedro de Luna (“Benedict XIII”), sized recorder shown in his Tortosa hole, plugged with wax, a little low down, ruled at Avignon and employed musicians altarpiece at MNAC remains the most he has observed that the bell-end curves in from his own country. In Aragon’s far- widely accepted “first recorder” in iconog- slightly to constrict the bore opening for flung realms, there was a musical court— raphy. It was shown as Fig.3 on p.9 of my tuning purposes. and instrument-makers, at Palermo in article, and dated “1390?” in its caption. It Since I wrote my two American Sicily, and even in Cyprus. King John I of is shown again as illustration 6 here. Recorder articles on this subject, Ballester, Aragon, through his three (successive) In that article, I mentioned that the who has researched in depth the French wives, had links with the court of dating, which can only be by stylistic Aragonese Royal Archives in Barcelona
22 American Recorder Illustration 7. Pere Vall, scene from an altarpiece in the church of St. Miquel, Cardona, Spain, painted about 1405, showing St. Peter greeting arrivals at the gates of Heaven, with an instrumental trio providing welcoming music. Although this is not a “first recorder” contender, it may be the first to show the recorder being played with other instruments—here a vielle and a lute—in what was surely a representation of an actual ensemble heard by the painter, a pupil of Pere Serra, a court painter at Barcelona. Photo: Jordi Ballester, with permission of Antoni Guixé, parish priest at Cardona; our thanks to Ballester for allowing us to reproduce it. from the late-Medieval period, has discov- It is interesting that the two earliest ered that the music-loving King John of written references to what may be fine editions of early & contemporary music Aragon, who reigned from 1387 to 1396, recorders pre-date my revised dating of PRB PRODUCTIONS wrote a letter mentioning “flahutes” (see the Pere Serra angel—and, extraordinarily, Peralta Avenue, Albany, CA Phone: -- Fax: -- Revista 15, I/2000, pp.10-12). It was writ- both appear in letters written in 1378. But E-mail: [email protected] ten before he succeeded to the throne, a new instrument needs to be established Web: www.prbmusic.com from the court at Saragossa, asking for before it is likely to be represented in a lutes and “flahutes” to be sent to him “as work of art. soon as possible” from an instrument- The second letter is earlier than John’s maker in Valencia. by exactly five months—February 23, “Flutes” in various European spellings 1378. It is written in a genial verse form by can refer to a variety of instruments. the poet Eustache Deschamps on behalf of Most of them, such as flageols and tabor Pierre de Navarre, who was ill in bed. I owe pipes, would be played by jongleurs this reference to Pierre Boragno, who and minstrels rather than by aristocratic quotes it in an important article on “Flûtes amateurs. Transverse flutes were then du Moyen Age” in Les cahiers de musique primarily military instruments. The médiévale (ii, 1998, pp.6-20). reference in this context is therefore In the verse letter, Pierre de Navarre almost certainly to recorders. says, “My nail(s) haven’t been so bad as to The letter is dated July 23, 1378, prevent me from learning to play the 10 years before the appearance in the checker and the flageol.” The checker is a London archives of an unambiguous small clavichord about the size of a reference to the purchase of a “Recordour” chess-board, as its name suggests. A for another heir to a throne, the future miniature in a chansonnier in the British Henry IV. John, however, ordered more Library (Royal MS 20.A.xvi, f.3v) shows than one recorder, as well as “lutes,” a lady seated on a low stool with the which are frequently seen with recorders checker held comfortably on her lap. in iconography (see illustration 7). With a clavichord, the strings are not And how many recorders, I wonder, plucked by hand, but struck mechanically had Ponç, the luthier at distant Valencia, by the player pressing buttons or keys. In made and sold locally, or further afield, the miniature, the lady’s hands are held before he achieved the reputation to re- fairly flat as she has no need to use her ceive this particular royal commission? nails. What other recorders were there in Lon- So Pierre’s curious remark cannot be don, where the future Henry IV purchased about the checker, although we must his in 1388? Did the vendor supply admire his consideration in choosing a recorders to the francophile court of very quiet instrument that would not Richard II? disturb those looking after him. “Flageol,”
March 2006 23 in a variety of spellings, normally refers to the recorder, which would make this letter STOP THE PRESS! a six-holed duct-flute used by jongleurs to of February 1378 the earliest-yet known Well after writing this article, but just in accompany dancing. Like our modern reference to our instrument. time for this issue, I learned about the flageolet, or Irish tin whistle, it overblows This story has a rather satisfactory discovery of a recorder in Estonia dated to a loud and piercing upper octave— ending. Eustache Deschamps was a “with some certainty … from the second a most unlikely instrument to be chosen member of an intellectual group that half of the 14th century” (but not as by our considerate aristocrat, especially included leading composer-musicians of yet dated more precisely than that). It is as learning how to play such a simple the time, such as Solage and Trebor, who the subject of a short article, with a instrument would hardly have taken worked at Avignon and Barcelona as well photograph, in the European Recorder up many hours of convalescence. as other great courts. And Pierre de Teachers’ Association (ERTA) Newsletter, But the recorder was much more Navarre (in northern Spain), also Count of No. 23 (January 2006), p. 2. demanding of a beginner, and it was also a Mortain (in Normandy), was the person Like the Göttingen recorder, the new instrument at the time. It was not who, with the King of France, commis- instrument was found in a latrine. It was noisy, as it was designed to imitate the sioned the “Royal” windows at Evreux discovered by the archaeologist Andres vocal style of the period in which high Cathedral (1390-98) in which he had Tvauri behind No. 15 Ulikooli Street, notes were sung softly. But, above all, himself portrayed—and these windows Tartu. Unlike the Göttingen and alone amongst members of the flute fami- are associated with the Rosary windows Dordrecht recorders, it is complete, and, ly, it does require the use of a (thumb-)nail, made around the same time. except for a surface crack at the bell-end, in order to play those soft upper-octave There, in the Rosary windows, as we in perfect condition, though slightly notes effectively. The reference to ongle, have seen, is the earliest likely representa- warped. Urgent conservation has caused here in the singular, can surely only refer to tion in France of a recorder. some shrinkage, but it still plays across a range of a ninth at low sopranino pitch. Its exact tuning needs to be the subject of further research by making a well-voiced OOLS TO MPROVE OUR LAYING copy with identical internal dimensions. $ANCE AT A 'LANCE "AROQUE #HAMBER -USIC The instrument is made from maple !LL YOU NEED TO KNOW ABOUT "AROQUE with a birch-wood block. The finger- 0LAY !LONG #$S DANCE IN ONE CONVENIENT PACKAGE (OURS OF PLAYING ENJOYMENT WITH holes are in line and equally spaced, but EARLY MUSIC SPECIALISTS *JHI TURN THE DIAL OF THE WHEEL GUIDE TO they vary slightly in size. THE DANCE YOU ARE STUDYING TO LEARN ITS 4=G:: TO CHOOSE FROM WITH MUSIC AND The author of the article, Taavi-Mats METER TEMPO RHYTHM AND AFFECT 4HIS PERFORMANCE GUIDES FOR RECORDER PLAYERS Utt, writes, “During the late medieval pe- PACKAGE INCLUDES 6ISIT OUR WEBSITE FOR COMPLETE CONTENTS riod Tartu was an important Hanseatic s (ANDY WHEEL GUIDE 0RE($ISC#ONTINUO city connecting Russia, especially Nov- s )NFORMATIVE BOOKLET %ARLY )NTERMEDIATE s #$ WITH MUSIC EXAMPLES gorod, with Western Europe. The house 4HE $ISC#ONTINUO where the recorder was found was defi- )NTERMEDIATE nitely that of a wealthy person. We see $ISC#ONTINUO )) this not only from the remainders of pot- / !DVANCED )NTERMEDIATE tery and glass, but also the shells of 6ISIT OUR WEBSITE AT WWWKATASTROPHEMUSICCOM Greek nuts (quite a luxury in those days) 4O ORDER POSTPAID SEND CHECKS $ANCE AT A 'LANCE $ISC#ONTINUO SERIES EACH PLUS SHIPPING AND HANDLING CHARGES FOR lRST ITEM EACH ADDITIONAL ITEM TO and the fact that fine wool textile remains @6IAROE=: G:8DG9H &LORIO 3TREET /AKLAND #! /R CALL were used as toilet paper.” The blowing end of the recorder is not beaked, but flat, or perhaps slightly con- cave to fit comfortably on a player’s lips. Near the head are two nicely turned ornamental rings. One conjectures that its probable wealthy merchant owner travelled widely and could have acquired the instrument in a cultivated North European court, or even from a rich merchant’s household. It is especially interesting that, before 1400, it seems possible that the recorder could have begun to permeate wealthy households with musical establishments outside the environment of princely courts. Clearly, but allowing for generaliza- tions for which there is not yet sufficient evidence, this discovery ups the odds for Northern Europe in the “first recorder” stakes.
24 American Recorder SummerSummer WWorkshopsorkshops ...... andand BeyondBeyond
TEXAS TOOT, SUMMER EDITION (ARS) dance band. The various classes include music from Medieval to modern. Several Concordia University, Austin, TX music and instrument vendors are in May 28-June 3 attendance. (fall weekend: November 17-19) Director: Daniel Johnson, Susan Richter All ages are welcome, as well as non-participants. Most recently, Cudek was appointed The Summer Texas Toot is a one-week Director of Early Music at the Peabody program of classes in Renaissance and Faculty includes Dale Armentrout, David Conservatory and received the 2005 Out- Baroque music at all levels. Our classes Echelard, Julie Elhard, Cléa Galhano, standing Contributions to Early Music include an array of small, one-on-a-part Albert Jackson, Kim Katulka, Lisette Education award by Early Music America. ensembles and larger mixed vocal and Kielson, Laura Sanborn-Kuhlman, Karen instrumental groups. The size of the work- Snowberg, Mary Halverson Waldo, and This institute is limited to 20 participants. shop enables us to create classes for all Todd Wetherwax. Housing and meals: lodging is available on levels of students. Contact: Nancy Chabala, 8609 45th St., the Interlochen campus on a first-come, first-served basis. Accommodations range In 2006 our featured faculty will be the Lyons IL 60534-1616 708-442-6053 (day), 708-386-4247 (fax), from residence hall rooms to housekeep- Flanders Recorder Quartet (Bart Spanhove, ing cottages at a variety of rates. Meals also
March 2006 25 SAN FRANCISCO EARLY MUSIC SOCIETY SFEMS MEDIEVAL & RENAISSANCE BAROQUE MUSIC WORKSHOP (ARS) WORKSHOP (ARS) Dominican University, Dominican University, San Rafael, CA San Rafael, CA June 25-July 1 June 18-24 Director: Hanneke van Proosdij, Director: Phebe Craig; Louise Carslake David Morris, assistant director Ensembles, master classes, viol consorts, A music-packed week of master classes, Renaissance windband, continuo coach- coached ensembles, scene workshops, ing, concerts, lectures, and projects. faculty and student concerts, concerto Featuring recorder faculty: Letitia Berlin, evening, Baroque dance, orchestra, vocal recorder; Louise Carslake, recorder & and wind ensembles, continuo classes, Renaissance flute; Rotem Gilbert, recorder and lectures. & Renaissance reeds; and Hanneke van Featuring recorder faculty: Frances Blaker Proosdij, recorder, harpsichord & organ. and Marion Verbruggen. Other faculty: Other faculty: John Dornenburg, viol; Phebe Craig, harpsichord; Sand Dalton, Shira Kammen, Medieval strings & viol; oboe; Anna Carol Dudley, voice; Angene Peter Maund, percussion; Robert Mealy, Feves, dance; Arthur Haas, harpsichord; Collegium Director, vielle & violin; Eric Kathleen Kraft, flute; Martha McGaughey, Mentzel, voice; Lawrence Rosenwald, viol; Marc Molomot, voice; David Morris, poet & language coach; Gail Ann ’cello; Michael Sand, violin; and Steve Schroeder, viol; David Tayler, lute & Vacchi, bassoon. theorbo; Kiri Tollaksen, cornetto; Catherine Webster, voice. Contact: Phebe Craig, SFEMS, PO Box 10151, Berkeley, CA 94709; Contact: Hanneke van Proosdij, SFEMS, 510-684-5177;
26 American Recorder SUZUKI METHOD MEMF was created to provide an opportu- CSMA RECORDER INSTITUTE (ARS) nity for musicians, scholars, teachers and early music enthusiasts to gather and FOUNDED 1915 Community School of Music and Arts exchange information and ideas about at Finn Center, Mountain View, CA Medieval, Renaissance and Baroque music July 2-14 (Teacher Training, Book 1) and to bring acclaimed early music artists July 2-7 (Teacher Training, Book 6) to the Midwest to perform in beautiful July 9-14 (Teacher Training, Book 4) Madison, Wisconsin. July 5-14 (Student Session) Featured MEMF 2006 guest artists-in- Director: Sally Terris residence ensembles include Ex Umbris, International Masterclasses, group classes, group The Baltimore Consort, Chatham Baroque, playing, faculty and student concerts; and Piffaro. Baroque for teachers, adult students and children Recorder faculty members include Institute at (age 5 and up). Non-Suzuki students Rotem Gilbert, Joan Kimball, and welcome with advance notice. Robert Wiemken. Longy Participants make use of the Suzuki Contact: Chelcy Bowles, University of repertoire recorded by Marion Verbruggen, Wisconsin-Madison, 720 Lowell Center, July 21-30, 2006 Arthur Haas and Mary Springfels. Other 610 Langdon St., Madison, WI 53703; recordings demonstrating historically 608-265-5629; 608-262-1694 (fax); informed performance practice are also
March 2006 27 CANTO ANTIGUO EARLY MUSIC Los Angeles, CA 90064; 310-213-0237 informal playing sessions. AND RECORDER WORKSHOP (day); 310-574-3288 (evening); Connecticut College in eastern Connecti- 310-558-8205 (fax);
“I’m classically trained and never thought I could play by ear. At SoundCatcher I was improvising over chord patterns by Tuesday. This workshop has changed my life!” PlayPlay byby Ear!Ear! —2005 Soundcatcher Participant Frederick House :: Staunton, Virginia :: August 13–19, 2006 Director Tina Chancey (bowed strings) Coaches John Tyson (recorders), Bruce Hutton (banjo, guitar, mandolin, lap dulcimer), Nick Blanton (hammered dulcimer, galoubet)
Serious fun for amateur and professional musicians TOTAL COST: $925 single, $825 double, $800 triple. Private of all ages. Throw away your music stands! Learn baths, large rooms, gourmet meals. Get info on the facilities & to play early and traditional tunes by ear in a town at www.frederickhouse.com or www.staunton.va.us. warm and supportive atmosphere. Hear modes, Find answers to workshop questions, faculty bios & and an application online at www.hesperus.org, or call meters and forms; create spontaneous counter (703) 525-7550. SoundCatcher is a HESPERUS workshop. melodies and ornaments; add accompaniments, drones and chords. DON’T BE PAPER TRAINED
28 American Recorder MIDEAST WORKSHOP (ARS) LaRoche College, Pittsburgh, PA July 16-22 Director: Marilyn Carlson Dance Music ~ Medieval, Renaissance, Baroque Suites. 60-65 students of all ability levels. Adults only. Instruction for recorder (all levels except novice), viol, harp, flute, capped reeds. You may enroll for recorder, viol, flute as primary instrument; harp, capped reeds, voice, recorder, viol as secondary instru- ment. Large and small ensembles include All-Workshop Ensemble (instruments and voices), Renaissance Band, Medieval Collegium, Consorts (by level), Vocal Ensemble, English Country Dance. Other classes on special early music topics and literature. Faculty: Marilyn Carlson, director; recorders, viols, and singers, as well as and newcomers alike make Pinewoods a Martha Bixler, Stewart Carter, Majbritt double reeds, brass, harp, lute, and key- wonderful place to spend a week improv- Christensen, Judith Davidoff, Eric Haas, board. Ensemble and masterclasses are ing your skills. For details on classes and Mary Johnson, Peter Ramsey, Kenneth complemented by movement in the form faculty, visit our website. Wollitz, James Young. Air-conditioned of Renaissance and English Country Contact: Steve Howe, Country Dance and dorms and classrooms. Tuition (includes Dance, with nightly dancing and playing Song Society, PO Box 338, Haydenville, MA room and board): $700. sessions. Two clear ponds for swimming 01039-0338; 413-268-7426 X3 (day); Contact: Marilyn Carlson, and boating, cabins nestled in the forest, 413-268-7471(fax);
SAN FRANCISCO EARLY MUSIC SOCIETY Canto Antiguo Early Music RECORDER WORKSHOP (ARS) Dominican University, San Rafael, CA West Coast Early Workshop July 16-22 Directors: Frances Feldon, Music and Dance July 9-15 2006 Katherine Heater Chapman University Explore the full range of recorder music Featured Faculty from the Middle Ages, Renaissance, Orange, CA and Baroque to the 21st century, Thomas Axworthy world music and jazz, through technique sessions, ensemble Mark Davenport Classes in work, recorder orchestra. Inga Funck Baroque Music For the devoted amateur intermediate to Ronald Glass advanced. All ages! Friendly, intimate Recorder Ensemble atmosphere, small classes. Carol Lisek (all levels) Special offerings: Renaissance recorders, Jim Maynard master class, concerto class, recorder Vocal Ensemble orchestra composition contest. Alice Renken Renaissance Brass Faculty: Annette Bauer, Vicki Shirley Robbins Boeckman, Frances Feldon, Norbert and Reeds Kunst, and Matthias Maute, recorders; Viols Katherine Heater, harpsichord. Beautiful Campus Contact: Frances Feldon; SFEMS, Collegium PO Box 10151, Berkeley, CA 94709; Fully air-conditioned Folk Dance 510-527-9840 ;
March 2006 29 Evening sessions feature pieces provided by participants. This “lighter fare” ranges from Renaissance to jazz—bring pieces from your own libraries and multiple copies of at least one piece for sharing with others. The emphasis is on growth, process and, most of all, enjoyment. To participate fully, you should have at least intermediate skills on a C or F recorder. Music lists will be provided after May 1, so that you can purchase your own copies of the class materials. (The cost is approxi- mately $35.) Students are encouraged to bring all of their recorders and other miscellaneous musical instruments! Adrianne Paffrath coached on recorder with ARS teachers. She is director of music at Racine’s First Presbyterian Church. In addition to early music instruments, Patricia Badger has studied natural and INTERNATIONAL BAROQUE INSTITUTE RECORDER AT THE CLEARING classical trumpet. She is performing arts AT LONGY The Clearing, Ellison Bay, WI head of The Prairie School. Longy School of Music, Cambridge, MA July 23-29 Jointly, Pat and Adrianne have performed July 21-30 Directors: Pat Badger, Adrianne Paffrath for Medieval festivals, Shakespeare celebra- Directors: Paul Leenhouts, Phoebe Carrai Recorder ensemble has been a tradition at tions, grape stompings, art fairs, and with Per contare e suonare: cantatas & incidental The Clearing for over 25 years. Ensemble the mounted band in the Milwaukee Circus music of the 17th & 18th centuries. playing is the focus of the week. Parade. Contact: Margaret Denton, One Follen Each day begins with a warm-up of our Contact: Kathy Vanderhoof, The Clearing, Street, Cambridge, MA 02138; voices and bodies as we sing rounds and PO Box 65, Ellison Bay, WI 54210-0065; 617-876-0956 X611 (day); 617-492-6723 ready our muscles for performance. Day- 877-854-3225 (toll-free); 920-854-4088 (fax);
3AN &RANCISCO %ARLY -USIC 3OCIETY 3UMMER 7ORKSHOPS 3&$03%&38PSLTIPQ r +VMZo -B%PMDF7JUBEJ'MBVUP r &YQMPSFUIFGVMMSBOHFPGSFDPSEFSNVTJDGSPNUIF.JEEMF"HFT 3FOBJTTBODF BOE#BSPRVFUP UIFUXFOUZmSTUDFOUVSZ XPSMENVTJDBOEKB[[ UISPVHIUFDIOJRVFTFTTJPOT FOTFNCMFXPSL SFDPSEFSPSDIFTUSB'PSUIF EFWPUFEBNBUFVSJOUFSNFEJBUFUPBEWBODFE"MMBHFT'SJFOEMZ JOUJNBUFBUNPTQIFSF TNBMMDMBTTFT4QFDJBMPĉFSJOHT 3FOBJTTBODFSFDPSEFST NBTUFSDMBTT DPODFSUPDMBTT SFDPSEFSPSDIFTUSBDPNQPTJUJPODPOUFTU'BDVMUZ"OOFUUF#BVFS 7JDLJ#PFDLNBO 'SBODFT'FMEPO /PSCFSU,VOTU BOE.BUUIJBT.BVUF SFDPSEFST ,BUIFSJOF)FBUFS IBSQTJDIPSE *OGP'SBODFT'FMEPO GSBOGFM!BPMDPN #"3026&.64*$%"/$&8PSLTIPQ r +VOFo .VTJDPGUIF'SFODI#BSPRVF%SPMM %SBNBUJD BOE4BDSFE r 'FBUVSJOHSFDPSEFSGBDVMUZ'SBODFT#MBLFSBOE.BSJPO 7FSCSVHHFO.BTUFSDMBTTFT DPODFSUPFWFOJOH DPBDIFEFOTFNCMFT #BSPRVFEBODF GBDVMUZBOETUVEFOUDPODFSUT *OGP1IFCF$SBJH QIFCFD!BPMDPN .&%*&7"-3&/"*44"/$&8PSLTIPQ r +VOFo+VMZ *G.VTJDBOE4XFFU1PFUSZ"HSFF r 'FBUVSJOHGBDVMUZ-FUJUJB#FSMJO -PVJTF$BSTMBLF 3PUFN(JMCFSU 4IJSB,BNNFO 1FUFS.BVOE BOE)BOOFLFWBO1SPPTEJK$PMMFHJVN DPOTPSUDMBTTFT BOENPSF *OGP)BOOFLFWBO1SPPTEJK NFESFO!TCDHMPCBMOFU .64*$%*4$07&3:8PSLTIPQ r +VMZo"VHVTU &BSMZNVTJDBOE3FOBJTTBODFTPDJBMIJTUPSZGPSZPVUIBHFTo'FBUVSJOHSFDPSEFSGBDVMUZ-FUJUJB#FSMJOBOE'SBODFT #MBLFS*OTUSVNFOUBMJOTUSVDUJPOJODMVEJOHSFDPSEFS IBSQTJDIPSE TUSJOHT DIBNCFSNVTJD NVTJDUIFPSZBOEFBSUSBJOJOH DSBGUT DPTUVNFNBLJOH HBNFT BOENPSF&OEUIFXFFLXJUIBDPODFSUBOEQFSGPSNBODFGPSGBNJMJFTPGBO&OHMJTI .BTRVF GPMMPXFECZQPUMVDLTVQQFS *OGP-FUJUJB#FSMJO DFMM UJTICFSMJO!TCDHMPCBMOFU 'PSNPSFJOGPSNBUJPO WJTJUPVSXFCTJUFXXXTGFNTPSH
30 American Recorder The Summer Make plans now to join us at the Summer Toot, HIDDEN VALLEY INSTITUTE OF THE ARTS where our featured faculty will be the EARLY MUSIC ELDERHOSTEL (ARS) Texas Toot Flanders Carmel Valley, CA November 5-11, November 12-18 Early Music Recorder Quartet Directors: Letitia Berlin, workshop; Workshop Han Tol Joris Van Goethem Peter Meckel, HVIA May 28 to Bart Spanhove Paul Van Loey Enroll for one or both weeks. Adults of all ages welcome. June 3, 2006 Rosamund Morley, viols Classes include recorder technique, viol Tom Zajac, reeds and brass consort, Baroque chamber music seminar, Concordia plus experienced faculty in voice, historical harp consort classes for Medieval,Renaissance, University, and lute. The weeklong workshop is held at the Baroque and contemporary repertoire. Austin TX beautiful, walkable and air-conditioned campus of Evening events include faculty concert, Concordia University in lively Austin, Texas. student concert, free-lance playing. Free Daniel Johnson, director; Susan Richter, asst director. Boulder Early Wednesday afternoon for more playing or Music Shop and Lazar's Early Music will be on site with instruments, sightseeing. Improve your playing in a music, accessories and more. Register on our Website starting in supportive, friendly atmosphere with February. Complete class offerings will be available there in late April: world-class teachers. www.toot.org or email: [email protected] Week I Faculty: Recorder: Letitia Berlin, Frances Blaker, Louise Carslake, Cléa Galhano. Viola da gamba: Margriet SAN FRANCISCO EARLY MUSIC SOCIETY without reading music. You’ll hear modes, Tindemans CHILDREN’S MUSIC DISCOVERY meters, and melodic patterns; add accom- WORKSHOP (ARS) paniments and counter melodies. Week II Faculty: Recorder: Letitia Berlin, The Crowden School, Berkeley, CA Working with four different coaches helps Frances Blaker, Janet Beazley. Early strings, July 30-August 4 you find the approach that suits you best singing, Medieval topics: Shira Kammen. Director: Letitia Berlin in a warm and supportive learning Viola da gamba, Medieval topics: Margriet environment. Informal playing, Irish/Old Tindemans Early music and Renaissance social history Time session, faculty and student concerts. Contact: Peter Meckel, PO Box 116, Carmel for youth ages 7–15. Daily schedule Valley, CA 93924; 831-659-3115 (day); includes chamber music, crafts, costume- “This workshop changed my life!” —A contented participant 831-659-7442 (fax);
March 2006 31 2006 SUMMER RECORDER WORKSHOPS
KEY COST: Includes tuition, room (single occupancy unless otherwise noted), meals, plus other fees. E=estimated, T=tuition only, D=double occupancy, W=one week NO. of DAYS: Includes arrival and departure days ARS DISCOUNT: Discount offered for ARS members # FACULTY/RECORDER FACULTY: Number of faculty/recorder faculty within that number # STUDENTS: Average over last two years RECORDER CLASS LEVELS: B=beginners, LI=low intermediate, HI=high intermediate, A=advanced, V=very advanced SPECIAL CLASSES USING RECORDERS: RP=recorder pedagogy, C=one-on-a-part consorts, MR=mixed Renaissance ensembles, MB=mixed Baroque ensembles, II/III=ARS Level II or III exam preparation, 20=contemporary music, EN=early notation, M=master class, RO=recorder orchestra, P=private lessons available, T=technique, O=other NON-RECORDER CLASSES: C=choral, W=other winds, P=percussion, K=keyboard, V=viols, PS=plucked strings, D=dance, T=theory, I=instrument building, O=other MUSICAL ACTIVITIES: F=faculty concert, S=student concert, L=lecture, SP=special production, P=organized informal playing, O=other RECREATION: D=dancing, F=field trip, G=gym, B=biking, S=swimming, T=tennis, W=waterfront/beach, O=other OTHERS WELCOME: S=non-playing spouses/friends, C=children (day care not generally available) DIRECT TRANSPORTATION TO WORKSHOP: S=shuttle from airport, B=bus, C=cab, L=limo, PU=will pick up, P=free parking, O=other TERMINALS: A=air, B=bus, T=train (number indicates miles from workshop to nearest terminal) ROOMS: S=singles, D=doubles (some with “+” can accommodate up to triples), C=cabins, O=other *Graduate dorms BATH FACILITIES: S=shared, SP=semi-private, P=private FOOD: C=college style, F=family style, G=gourmet, V=vegetarian INFORMATION SUPPLIED HANDICAP ACCESS: H=housing, C=classrooms, D=dining BY WORKSHOP DIRECTORS 32 American Recorder ON THE CUTTING EDGE ______An astounding listen and a stimulating read
hope readers of this column took tions, so the sounds and ambiences on and beats in commercial popular music, I notice of Tom Bickley’s review of the this disc pleased me very much. endless rituals of contemporary life CD Recorderist Pete Rose in the November I highly recommend this CD. Find out (cellphones, iPods, shopping)—finds a 2005 AR. Seconding Bickley’s comments, more about the American Festival of mirror in minimalist music. I want to say that I have heard Pete Rose Microtonal Music at
Beatin’ Path Publications Music That Works!
Robert Amchin Alto Antics ensembles for beginning alto recorder with percussion accompaniment Recorder Frolics for beginning C-pipes (Play-along CD available) Moods and Modes for intermediate classroom ensembles: includes play-along CD Brent M. Holl and Michael R. Nichols The Beatin' Path Consort Collection for beginning and intermediate ensemble Michael R. Nichols Christian Harmony Sacred Harp (Shaped Note) music arranged for SATB consort
See our online catalogue of Church, 302 East College Street choir, Orff and recorder music at: Bridgewater VA22812 www.beatinpathpublications.com 540-478-4833 or visit your favorite music dealer
March 2006 33 OPENING MEASURES ______Intonation revisited
ome years ago (in the May 1999 AR) I classes, an opera rehearsal, youth have a strong memory for pitch (which S wrote about intonation and gave some groups—and a local recorder ensemble you can develop through this exercise). exercises with which to develop blowing holding its weekly practice! I was particu- All players sit or stand in a semi-circle. stability and a sense of intonation. Now larly pleased to hear this group begin its Player 1 plays a clear steady tone (any I will expand on that, with exercises session by playing exercises. Exercises can note will do) while watching a tuner that specifically for improving your ability help improve intonation as well as ensem- only she/he can see. Player 1 tries to to play in tune. ble precision and many other things. Here remember that pitch by sound or by I hope you all have had many opportu- are some you can try out with your group. noting the position of the tuner indicator. nities to play in groups and ensembles. It’s Player 2 joins in half-way through the a very enjoyable and rewarding part of Unison Scale note and matches the pitch of player 1. recorder playing. However, there is the This is perhaps the most basic of Player 1 drops out. ever-present possibility of that horrible intonation exercises. Pick a scale; let’s say Player 3 joins in half-way through, after sound, a hideous, nerve-jangling sound: G major. Tune everyone’s lowest G. Play player 1 has dropped out, and again the out-of-tune recorder ensemble. To be the scale very slowly, never leaving a note matches the pitch. fair, I must say that an out-of-tune string until it is well in tune. Breathe as needed. And so on, until the last player joins in ensemble is every bit as awful—and the Variation (for small groups): one per- half-way through and matches the pitch. same goes, in fact, for any type of music son plays the scale alone. A second person When the next-to-last player drops out, group. joins and both play the scale – other group player 1 joins in and matches pitch with In mainstream ensemble situations, members give comments about intona- the last player. Player 1 reports back to the players learn to play in tune through tion (being sure to keep a light and friend- group whether the pitch is the same as instruction and repeated emphasis on the ly air). A third player joins for the third his/her original pitch. (Ideally, it will be issue of tuning. Recorder players often are time through the scale, and so one. the same, but in practice I have never not trained in this way, and thus routinely found a group who could keep the pitch. play out-of-tune, which ends up giving us Chord Tuning This is a challenge for you! Let me know recorder players a bad reputation. Pick a chord— again, let’s say G major. how it goes). The notes of this chord are G–B–D. Each member of the group chooses one Suspensions In mainstream of these notes. A good distribution is: Pick a chord, choose who will play which ensemble situations, bass–G, tenor–D, alto–B, soprano–G. You notes, and tune the chord. See my should have more people playing G (the music example, which again starts with a players learn to play in chord’s root), fewest playing B (the third G major chord. step of the G major scale and chord), and This exercise should be done in a slow tune through instruction a medium number playing D (the fifth 4/4 meter. Those playing the root and the and repeated emphasis step of the G major scale and chord). third of the scale/chord will play whole First, tune G. Add and tune D to the notes. on the issue of tuning. tuned G. Finally add B. Those who play the fifth of the Recorder players often Your chord is in tune when you hear a scale/chord begin one note too high (on calm, pure and pleasing sound. If it’s not the sixth note of the scale), holding this are not trained in pleasing, it’s not in tune. dissonant tone for a half-note before Variation: once the chord is tuned, resolving to the fifth of the chord, which this way. each ensemble member gets a chance to will also be a half-note. play all the notes of the chord in turn, Everyone should revel in the tension of I ask all recorder groups—large and tuning each to the rest of the ensemble. the dissonant chord, and relax into the small, coached or independent—to begin This is an extremely useful and effective sound of the resolution. each session by tuning, and maybe even to exercise. In the next measure, those playing the tune again half-way through the session. fifth hang onto that same note for another I am a member of the ARS Board. As I Telephone half-note, while everyone else moves write this, we have just finished our winter Like the children’s game in which a word down one step and holds for a whole note. Board meeting, this time held in Albu- or phrase is passed from person to person The note hanging over becomes a disso- querque, NM, at a church that hosts a in a whisper, this intonation exercise tests nance that is again resolved on the second great many community activities. As we the ability of group members to reproduce half-note by going down a step. met around our table in the library, a pitch as exactly as possible. This is best The principle behind this exercise is we could hear at various times (and done with a tuner, but can work without that it is sometimes easier to recognize sometimes simultaneously) pre-school one—in which case, the first player must a pure, clear in-tune sound by first
34 American Recorder Tuning Exercises with Suspensions E X X X 6RSUDQR5HFRUGHU X X
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E 75HF X X X X X experiencing a jangling sound—in this very true statement that said, “90% of case, a planned dissonance rather than an good intonation is attention.” If you don’t out-of-tune note. notice what is going on around you, chances are you will not mesh, either in The most effective thing tuning or in timing. On the other hand, trust your ear and your “intuition” (which, in this case, is of all is to become really your ear telling you what needs to be done) and change your pitch accordingly. aware of intonation. It can be very difficult indeed to hear in a large group what you need to do to fix your own tuning. Therefore I think it is Interval Training very important, from time to time, to have This can be done with just two players, or a subsection of your group play for the with a whole group. One person (or half of sake of intonation—whether it plays an the group) plays any note. exercise or a piece of music. The other person (other half of the Finally, for those of you who do not group) plays the note a perfect fifth above, have a group to play with on a regular making every effort to play perfectly in basis but who wish to improve your into- tune. Again, if it sounds pleasing, it is nation skills (kudos to you!), many of probably in tune—whereas if it sounds these exercises can be modified so that displeasing, it is certainly out of tune. you can do them alone. Use a recording The players of the lower note must do device (now available for iPod!) to play everything in their power to avoid any one note. Play it back and tune another pitch changes, while the players of the note to it. upper note may need to change their Use your imagination and creativity to blowing to adjust pitch. find other ways to work on intonation. These are just a few exercises that you If you come up with good ideas, let me can do to improve your intonation. The know—the more exercises, the better! very most effective thing of all is to Good luck and good intonation, become aware of intonation. I read once a Frances Blaker
March 2006 35 COMPACT DISC REVIEWS ______The Dolmetsch lineage
THE COMPLETE RECORDER pieces by Josquin, Vasquez and Machaut. by Rubbra (1901-1986). Rubbra is too WORKS: RUBBRA AND BRITTEN. The recorder playing is vigorous and per- little known to most audiences. He was a THE FLAUTADORS (CATHERINE FLEMING, suasive. I recommend this disc as a com- friend of Carl Dolmetsch and wrote most IAN WILSON, CELIA IRELAND, FIONA panion to the books mentioned in the pre- of the music on this disc either for RUSSELL); THE DANTE QUARTET (KRYSIA ceding paragraph. Dolmetsch or at his urging. Like Britten, OSOSTOWICZ, MATTHEW TRUSCOTT, Britten (1913-1976) and partner Peter Rubbra’s unique voice eclectically blends VIOLINS, JUDITH BUSBRIDGE, VIOLA, Pears were active as amateur recorder streams of early Western and Eastern PIERRE DOUMENGE, ’CELLO); LAURENCE players, having been brought into musics with evocative, bold and inviting CUMMINGS, HARPSICHORD; PATRICIA that community by Imogen Holst. harmonies. ROZARIO, SOPRANO; SUSANNA PELL, Britten’s compositions form a central In the CD booklet,. Andrew Mayes VIOLA DA GAMBA. Dutton Epoch core of English art music in the 20th notes that many people regard Rubbra’s CDLX 7142, 1 CD, 1:14:00, Abt. $17.50, century—ranging from challenging, yet Meditatzioni sopra ‘Cœurs Désolés,’ Op. 67,
36 American Recorder community. His Concertino for recorder recorder, joined by seven guests including and string orchestra, Op. 82 (1961), recorder player Becky Friddel. Other sounds familiar to many of us. That instruments used are dulcimers, guitars, work—plus David Dubery’s Mrs. Harris in bouzouki, ukelele, dobro, mandola, Paris, Ian Parrott’s Sinfonia Concertante mandolin and percussion. (2001-03) for recorder, solo violin, string While some of the high recorder orchestra and (nearly solo) percussion, playing is done with very strong vibrato— and Peter Hope’s Concerto (2003) for such that, on first listening, I thought I was Honeysuckle Music recorder, strings, harp and percussion—is hearing a tinwhistle—the group is thoughtfully-written. These are all tuneful technically quite proficient. The heavy- Recorders & accessories pieces, and would work as soundtracks handed post-production on this recording ... (exactly the case for the Dubery work). strikes me as unnecessary, given the However, in David Beck’s Flute-a-Beck quality of musicianship. The effect recalls Music for recorders & viols (2002) for recorder, strings and harp, the late 1950s recordings of Renaissance Jean Allison Olson and David Ellis’s Divertimento Elegiaco dance music by the Collegium Terpsi- 1604 Portland Ave. (in memoriam Ida Carroll), Op. 54a chore, in which a different choir of instru- St. Paul, MN 55104 (1996-2004), we hear music that sounds ments enters with each melodic phrase. 651.644.8545 related to the streams of energy and inno- I suspect that Erwilian is much more satis- [email protected] vation found in Rubbra’s recorder works. fying in person, and that they are making Beck and Ellis write immediately accessi- an impact especially in their home region ble music that is alive with ear-catching of the Pacific Northwest. Each CD review contains a header with some or all of the timbral twists and lively rhythms. We hear Erwilian fits into the Dolmetsch following information, as available: disc title; composer (multiple composers indicated in review text); name(s) the excitement of rediscovery by the lineage by reconnecting use of recorders to of ensemble, conductor, performer(s); label and catalog Dolmetsch family of the recorder family’s an ongoing folk tradition. That use has number (distributor may be indicated in order to help individual voices—and the contribution temporally-close Dolmetsch connections your local record store place a special order; some discs available through the ARS CD Club are so designated); they continue to make to the post-modern in such groups as The Weavers and other year of issue; total timing; suggested retail price. Many world of music. folk bands from the 1950s and 1960s, CDs are available through such online sellers as
March 2006 37 CHAPTERS & CONSORTS ______More holiday happenings, recorder orchestra news, ______Chicago composition contest winners, recorders meet other instruments
On December 9, the Pilgrim Pipers Consort sponsored a holiday workshop with Wayne Hankin. They were joined by the Pasco Collegium Recorder Consort from Pasco County and the Imperial Recorder Consort from Lakeland— all groups in Florida. Hankin is a winner of the Noah Green- berg Award, and has worked with Center Stage, the Shakespeare Festival, Lincoln Center and the American Repertory Theater. He is currently one of seven musicians with the Cirque de Soliel production Varekai, which was in St. Petersburg through December. Kalamazoo Recorder Players (above) members trickled in between Thanks- Hankin demonstrated for those pres- participated in January in a special com- giving and the end of 2005. ent on a variety of instruments he plays as pline service at the Cathedral of Christ the Enough had returned that they were a part of the circus (see inset photo below)— King in Kalamazoo, MI. Compline is the able to resume the play-in that was so including ocarina, recorder, bagpipe, jaws last service of the day, often practiced by rudely interrupted by Katrina. New harp and bone flute. He spoke of his expe- Medieval monks as the epiphany season Orleans and Baton Rouge chapter rience playing for the performers and approached. Led by David Fischer, the members enjoyed an uplifting play-in on shared with the group a 15-minute DVD of group performed as a whole, later provid- December 17, when they convened for the their TV appearance on the Jay Leno Show. ing music in three smaller ensembles. first time since the levee flooding caused Each group came prepared to play In other KRP news, Judith Whaley the evacuation from New Orleans. selections to be critiqued by Hankin. completed her 30 years as the chapter David Kemp, a member and Pasco Collegium played Greensleeves and music director with the chapter’s public musical director of St. George’s Episcopal Down By the Riverside. The Imperial performance last May. In her “step-by- Church, led the group of 12 in Medieval Consort played Lord of the Dance, step” retirement, she is directing only Christmas music plus pieces by Purcell arranged by Richard Geisler, and Blaser- three chapter meetings this year. and Schmelzer, among others. Lunch was sinfonie by Bach. The Pilgrim Pipers played East Bay (CA) Recorder Society accompanied by an exchange of hurricane Bergamasca by Larry Bernstein and hosted a March 4 workshop by Adam stories—the major pastime currently in Der Gott Unsers Herrn Jesu Christi by Gilbert entitled “The Borrowers: Imita- New Orleans. Telemann. With each group Hankin tion in Renaissance Music.” In a fast- Pilgrim Pipers Consort of St. Petersburg, FL, performed on a star- paced and densely informative session, studded stage during the December workshop led by Wayne Hankin Gilbert answered that tantalizing ques- (left): (l to r below) Richard Carbone, Winnie Anderson, Genie tion we all have had when listening to Terrell, Jim Furdell, Marilyn Kaminski, Gordon Terrell, George Renaissance music: “Where have I heard Mohammed, Elizabeth Snedeker, Stanley Kaminski, Rodney Snedeker. that phrase before?” Attenders left the workshop with a picture of society in the Renaissance and of the intimate interac- tion among folk, liturgical and court music—as well as between composers. Gilbert’s combination of musicianship, charismatic teaching style, and encyclo- pedic musicological knowledge made all in attendance appreciative beneficiaries. Four ARS members who managed to stay near New Orleans (LA) during and after Hurricane Katrina began playing music together in November. A few more
38 American Recorder provided interesting, challenging and helpful suggestions. ARS Membership Enrollment and Renewal The inspiring morning concluded with K K the whole group playing four selections I am a new member I am or have been a member from Eric Haas’s two collections of Christmas songs. U.S./Canadian Memberships Student Membership The Rio Grande chapter (musicians K $40 One Year (Enclose proof of full time enrollment) from El Paso, TX, and Las Cruces, NM) K $70 Sustaining (Receive Hotteterre Hands pin) K $20 U.S./Canadian One Year K $75 Two Years K $40 U.S./Canadian Two Years had a busy fall 2005 season, first hosting K $25 Foreign One Year a weekend workshop attended by about Foreign Memberships K $50 Foreign Two Years 50 participants from several states. The K $50 One Year workshop featured an exciting faculty K $95 Two Years comprising Cléa Galhano, Vicki Boeck- K $60 One Year Workshop Membership man and Mark Davenport. Reports are K $120 One Year Business Membership that it was one of the most popular and fruitful fall workshops the chapter has K Do not list my name in the ARS Directory sponsored, with the faculty concert at the K Do not release my name for recorder related mailings K Do not contact me via e-mail. conclusion still a topic of discussion. K My address, phone and email address are the same as last time.
______Name Phone Number ______Address/City/State/Postal Code E-mail Address and repairs Please charge to: (Circle one) VISA MasterCard AMEX Discover
Let your instrument sound its best CC#:______Exp. Date: ______
David Ohannesian Signature of cardholder:______Maker of fine recorders Clearly Print Name as it appears on Card:______Credit Card renewals may be faxed to 314/966-4649. Call 800/491-9588 to renew by phone Over 30 years experience Outstanding service Demographic Information Reasonable rates (optional information collected only to enhance ARS services and provide statistics to grant makers): All information on members’ activities in the ARS files is strictly confidential [email protected] and only used internally. 106 NW 104th St. Seattle, WA 98177 I am a member of ARS Chapter ______K I am the Chapter Contact I am a member of ARS Consort ______K I am the Consort Contact (206) 781-8517 Your age: K Under 21 K (21-30) K (31-40) K (41-50) K (51-60) K (61-70) K (71+)
CHAPTER NEWS Please check all that apply: Chapter newsletter editors and (Since your recorder activities may change from year to year, please update this information publicity officers should send materials with each renewal): for publication in American Recorder K I am a Professional Recorder Performer. to : AR, 7770 South High St., K I wish to be included in the list of Recorder Teachers in the ARS Directory and web site. Centennial, CO 80122-3122, by e-mail I Teach: (circle your choices)
March 2006 39 Soon after that came the annual Las ARS PUBLICATIONS Cruces Renaissance Faire, where Rio Erich Katz Contemporary Music Series Members Non-Members Grande members offer an information Suzanne M. Angevine, A Short Tale for two basses (Level II) (2 scores) $ 5 $ 8 booth and give performances. The booth Peter Ballinger, Double Quartet for Recorders (Level II-III) (score & parts) $10 $18 Anthony Burgess, Sonatina for Alto Recorder and Piano (Level II) (2 scores) $7 $12 this year was across from another with Cecil Effinger, Dialogue and Dance (SATB) (Level II-III) (score & parts) $10 $18 taped and live dulcimer music—at times, Lee Gannon, Sonatine for three altos (Level III) (score & parts) $14 $26 (score, parts & demo cassette) $23 $43 played rather louder than the chapter’s Erich Katz, Suite of Jewish Folk Tunes (S S/A8 A/T) (Level II) (three scores) $10 $18 taped recorder music. “If you can’t lick Vaclav Nelhybel, Six Short Pieces for Three Recorders, (AA/TT) (Level II) edited by Alan Drake (3 scores) $8 $14 ’em, join ’em”: chapter conductor Scott Stanley W. Osborn, Kyrie and Vocalise for soprano voice and recorders Hancock struck up an impromptu duet (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14 Frederic Palmer, Entrevista (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14 on his pennywhistle with a surprised dul- Sally Price, Dorian Mood (SATB) (Level II) (score & parts) $10 $18 cimer player, delighting everyone within Jeffrey Quick, Picnic Music (SATB) (Level II) (score & parts) $ 5 $ 8 earshot (including the dulcimer player). Musical Editions from the Members’ Library: A few weeks later, the El Paso Early ARS members: 1 copy, $3 2 copies, $4.50 3, $6 4, $7.50 5, $10 6, $11.50 Non-members (editions over 2 years old): 1 copy, $5 2 copies, $8.50, 3,$12 4,$15 5, $19.50 6, $23 Music Consort (right) gave two local The ARS is happy to provide photocopied enlargements of any Members’ Library edition at the same prices. Please performances featuring recorders with specify “Members’ Library Enlargement.” * = Editions not yet available to non-members. harpsichord voice and viols. Laurie G. Alberts, Poinciana Rag (SATB) Jennifer W. Lehmann, arr., Elizabethan Delights Laurie G. Alberts, Imitations (AA) (SAA/TB) The fall activities finished with the George T. Bachmann, Trios for Recorders (var.) Jennifer W. Lehmann, arr., Vintage Burgundy chapter’s December meeting of assorted Martha Bishop, Variations on “Drmeš” (SATB) (S/AS/ATT) Robert W. Butts, Tracings in the Snow in William Long, arr., Two Bach Trios (SAB) holiday music, closing 2005 with a feast Central Park (SAT) Ann McKinley, Three Bantam Ballads (TB) of good food and conversation. Stephan Chandler, Different Quips (AATB) Ann McKinley, Sonata da Chiesa (SATB) Stephan Chandler, Other Quips (ATBB) Frederic Palmer, Serie for Two Alto Recorders (AA) Los Angeles Recorder Orchestra Robert Cowper, Gloria in Excelsis (TTTB) Carolyn Peskin, Elegy for Recorder Quartet (SATB) Richard Eastman, Dancers (AT) Carolyn Peskin, Three Cleveland Scenes (SAT) (LARO) began its second season in Janu- Virginia N. Ebinger, arr., Los Pastores Carolyn Peskin, Arioso and Jazzy Rondo (AB) ary with a concert entitled “Bach, Byrd (S/AAA/T + perc) Peter A. Ramsey, Triptych (AAT/B) David Goldstein, arr., Sentimental Songs (SATB) David P. Ruhl, Canon for 4 Basses (BBBB) and Bomba.” Performed twice in January, David Goldstein, In Memory of Andrew (ATB) Anthony St. Pierre, S-O-S (SATB) the concert was the fourth for LARO since Erich Katz, New Rounds on Old Rhymes (4, var.) Colin Sterne, Slow Dance with Doubles (2 x SATB) Erich Katz, Santa Barbara Suite (SS/AA/T) Thomas E. Van Dahm, arr., Two Brahms Lieder it was founded in June 2005 by Lia Jennifer W. Lehmann, arr., Bruckner’s Ave Maria (SATB) Starer Levin and conductor Thomas (SSATTBB) Timothy R. Walsh, Little Girl Skipping and Alouette et al (SATBCb) Axworthy. Its 30 recorder players come from the Southern California area and ARS Information Booklets: rehearse twice a month. 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 The program included “Il Piffaro Adding Percussion to Medieval and Renaissance Music (Peggy Monroe) Veneziano,” with selections by Montever- American Recorder Music (Constance Primus) di, Johannes Prioris and Gabrieli; Bach’s The Burgundian Court and Its Music (Judith Whaley, coord.) Improve Your Consort Skills (Susan Carduelis) Cantata #156, and “The Byrds of Lon- Music for Mixed Ensembles (Jennifer W. Lehmann) don,” a compilation of short pieces by Playing Music for the Dance (Louise Austin) Recorder Care (Scott Paterson) William Byrd. Also on the program was La Education Publications Bomba, a theatrical piece by the Spanish The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). composer Mateo Flecha that dramatizes First copy free to ARS Members (mailed to current members in 1996 & new members as they join); the moment when a sinking ship is saved replacement copies for members or non-members, $3. Guidebook to the ARS Personal Study Program (1996). Material formerly published in the Study by its crew’s devotion to the Virgin. Guide and Study Guide Handbook, plus additional resources. Members, $11; non-members, $20. “This is the first program by LARO of ARS Music Lists (2002 with 2003 Supplement). Graded list of solos, ensembles, and method books. Members $9; non-members, $15. strictly ‘early music,’” said Axworthy. Package deal available only to ARS members: Guidebook and Music Lists/Supplement ordered together, $16. “Selections come from the 15th, 16th and Junior Recorder Society Leader’s Resource Notebook. ARS members, $20; non-members, $40 (updates at reduced rates after initial purchase). Dues for each JRS student member sponsored by an ARS member, 17th centuries. These pieces represent the $5 ($4 each for groups of 10 of more). JRS student members receive activities plus “Merlin” badges and stickers. normal repertoire of the recorder family, Other Publications but have been extended to include all of Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering forming the family of recorders, from sopranino to an ARS chapter. ARS members, $10; non-members, $20 (updates free after initial purchase). contra bass.” Earlier programs have One free copy sent to each ARS chapter with 10 members or more. Consort Handbook. Resource on consort topics such as group interaction, rehearsing, repertoire, performing. delved into a variety of music arranged for ARS member prices: CD, $10; hard copy, $20; combo price of CD and hard copy ordered together, $25. recorder, from early English keyboard to Recorder Power, educational video from the ARS and recorder virtuoso John Tyson. An exciting resource about teaching recorder to young students. ARS members may borrow a copy for one month by sending a ragtime. Most of the works performed refundable $10 deposit to the ARS office along with the address to which the tape should be shipped. have been edited and arranged by Axwor- 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. thy, who is an active performer in many Either single volume: ARS members $23; non-members, $28. ethnic, specialty and chamber groups of Both Discography volumes together: ARS members only, $40. American Recorder: Cumulative Index for Vols. I-XXXX. ARS members, $20; non-members, $32. Southern California. “We know that early Index Supplement, Vol. XXXIV-XXXX. ARS members, $8; non-members, $14. music works well with the recorder, but All prices are in U.S. dollars and include U.S. postage and handling. For Canadian or foreign surface postage, please want to show that modern works do, too.” add an additional $1 per item; for Canadian or foreign air mail, please add an additional $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 In November, while performing in Los discounted members' price. Please make checks payable to the ARS. VISA/MasterCard also accepted. Angeles, the noted composer and American Recorder Society recorder virtuoso Matthias Maute was a 1129 Ruth Drive, St. Louis, MO 63122-1019 U.S.A. N 800-491-9588 guest conductor for a LARO rehearsal.
40 American Recorder El Paso Early Music Consort after their October 2005 concert: ( back row, l to r) Marcia Fountain, George Wheeler, Lynda Abshire (at the harpsichord), Robert Hyland, Paul Hallsted, Robert Garrick; (front row) Kathy Massello, Barbara Hyland, Joyce Henry. doubled by a stronger America in the time of Franklin, as well as player to provide sup- lively compositions from the Big Band era. port. Strings and chorus In April, GSS will perform music that rehearse separately and was heard in America during the time of join HPRS in the weeks Franklin and during the years immediate- before a concert. When ly following his death in 1790. The concert they do, all performers will also highlight music which was played finally hear all the parts, at a concert in New Brunswick courthouse and enjoy the full effect on September 3, 1799, offering a taste of of the sound of New Jersey’s musical heritage. the chamber orchestra, The third concert of the series, in June, which is conducted by will be played by Musica Dolce (a cham- John Eisenhauer. ber ensemble from the HPRS and GSS of HPRS is in its 19th recorder, ’cello, harpsichord, and, most The Front Range Recorder Orchestra, year, and has recently won its 14th con- recently, violin). performing works of originally comprising recorder players secutive grant (for the second year in a composers whose music was popular in from the chapters on the “front range” row, a grant of $4500). Typically, the group the Colonial and early Federal periods. of central and eastern Colorado, has has performed both early and 20th- centu- In addition, members of the HPRS, broadened its scope and renamed itself ry music for recorder ensemble or GSS and Musica Dolce do outreach per- the Colorado Recorder Orchestra. A recorder orchestra, plus additional forces, forming in the community and for under- committee of members is currently mak- but has also commissioned new works. served populations, such as disabled chil- ing plans for the recorder orchestra to go For Play-the-Recorder Month in March, dren and adults, senior citizens, inner-city on tour to Japan early next November. HPRS will use some of its funding to children, disabled New Jersey Veterans, The proposed 13-day tour of Japan launch a series of three free concerts fea- and residents of nursing homes. Photos of includes performances in Tokyo and turing music from the time of Benjamin the outreach events of the various groups Yamagata, plus sightseeing in Kyoto. Franklin, whose birth in 1706 is being cel- in the inner-city schools of Elizabeth, NJ, Colorado’s sister state in Japan is ebrated in 2006. The first concert includes can be seen at
March 2006 41 MUSIC REVIEWS ______Jazzy music, theater music, play-along CDs ______and music with instruments other than recorder
SIX SUITES FOR TWO TREBLES I am thrilled to welcome a new tempo-rubato give and take that we are FROM OPUS 27, BY J.B. BOISMORTIER, contributor to the recorder play-along accustomed to hearing in a performance. ED. AND RECORDED FOR PLAY-ALONG CD CD market. Christine Lucerne is a profes- In this respect, these discs are the antithe- (COMPANION TRACKS RECORDER PARTNER) sional recorder player and teacher who sis of the DiscContinuo series, which intro- BY CHRISTINE LUCERNE. Self-published in was graduated from the Conservatorium duce many subtle, and some not so subtle, Tasmania, Australia (
42 American Recorder The tempos in the Hook trios are quite CONCERTO PASTORALE, BY J. C. PEZ, shepherds. In this transposed arrange- fast, so Lucerne has created a second CD ARR. ULRICH HERRMANN. Noetzel N3948. ment, the soprano recorders take the part that has all of the tracks for the fast move- (C. F. Peters), 2004. SSAATB. Sc 16 pp, pts of the two alto recorders in the original, ments played at a slower tempo. Many 6 pp ea. $24. often imitating the sound of shepherds’ students will indeed need to start off with CONCERTO C-DUR, OP .8 NR.2, BY pipes, while the bass occasionally drones the slower CD. These trios come with J. CHR. PEPUSCH, ARR. ULRICH HERRMANN. on below for a bagpipe effect. The score and parts, rather than just a score— Noetzel N3944. (C. F. Peters), 2003. three inner parts do more than fill in a much-appreciated “extra.” SAATB. Sc 8 pp, pts 3 pp ea. $17.95. the harmonies, however, often acting Most of what Lucerne has chosen to SUITE NR. 2 F-DUR, BY J. B. BACH, antiphonally against the top two voices. record has not previously been represent- ARR. ULRICH HERRMANN. Noetzel N3943. ed in the play-along market. However, (C. F. Peters), 2003. SATB. Sc 19 pp, pts some of the Susato dances were recorded 5 pp ea. $22. Very little Baroque music years ago by the New York Renaissance Very little Baroque music was was composed for Band on the Music Minus One label. composed for recorder ensembles without These were played on a variety of wind, keyboard or other instruments. Therefore recorder ensembles brass and stringed instruments, and most such “whole consorts,” so prevalent were pitched a perfect fourth higher than today, must turn to arrangements if they without keyboard or in the Dolce publication. wish to have a taste of this repertoire. Also, the only missing part was the top Luckily Noetzel is publishing a series other instruments. part. In Lucerne’s new recording, students of works arranged by Ulrich Herrmann for get a chance to play all four parts with the recorder ensembles of various sizes. Here There are six movements: a quiet CD. we have a sextet, a quintet and a quartet. “Pastorale,” a lively presto “Aria,” a grave As mentioned above, the Susato CDs Originally Pez’s Concerto Pastorale was for “Aria,” an allegro “Aria Pastorale” (in duple come with the Dolce edition of the printed two alto recorders, two violins, two violas, meter) followed by an “Adagio” (in 3/2), music. Therefore you will need to spend a and continuo; Pepusch’s Concerto was for a “Menuett” in four parts (SATB) with few minutes writing track numbers onto two recorders (or flutes), two oboes (or “Trio” in three parts (SST), ending again the printed music so that you can navigate violins) and continuo; and J. B. Bach’s in six parts with another allegro “Aria.” through a CD that has over 60 tracks. Suite was for strings. Therefore this work, as a whole, provides The soprano part is the most active part The Concerto Pastorale by Pez a lot of welcome contrast in tempos, in these dances, but I enjoyed playing the (b. Munich 1664, d. Stuttgart 1716) moods, and dynamics, created by varying bass line almost as much as the soprano evokes the idyllic music and dance of the number of recorders playing at a time. part. The alto and tenor parts are challenging from the standpoint of fitting right in there, intonation-wise. This is also a great opportunity for R developing musicians to practice those shifting 3/2 and 6/4 meters. In addition, they may practice ornamenting repeti- E tions of phrases and motives similar to the examples on the recording. These dances, with their more vertical, less contrapuntal C style, must have been a huge project to record. Congratulations on a job well done! O I have dabbled with multi-track record- ing in my home and found it to be much more difficult than I ever imagined. It is R very easy to become bogged down in listening to one track while recording another track—and this can result in less- D than-perfect ensemble. There are spots here and there where Lucerne’s ensemble is not 100% tight, but this is very minor, so E I must praise Lucerne’s persistence in recording so many note-perfect tracks. Lucerne has two other exciting projects R in the works—a play-along CD of the Telemann Canonic Sonatas, as well as one for bass recorder players using choral S music from the Baroque and Renaissance eras. I look forward to these releases. Sue Groskreutz
March 2006 43 It can sound good played by a large Germany 1749) is a typical Baroque suite ROMANCE (1964, REV. 2003), BY group, as well as by a sextet, as long as with seven movements. The composer EDWARD GREGSON. Peacock Press PJT 046 the balance of the parts is worked out care- was a cousin and near contemporary of (Magnamusic). S & string quartet. Sc 8 pp, fully. We found it best if the first soprano Johann Sebastian Bach (1685-1750). In pts 2 pp. ea. $16.50. part, which goes to high B , and the first fact, this suite and three others by J. B. ROMANCE (1964, REV. 2003), BY alto part, which frequently reaches up to Bach were found in the personal library of EDWARD GREGSON. Peacock Press PJT 045 high E and F, are not doubled. J. S. Bach, who performed them with his (Magnamusic). S & piano. Sc 7 pp, pt While most of the movements are easy, Collegium Musicum in Leipzig. 2 pp. $9.50. they would sparkle with added orna- Originally in G major for strings, this FESTE’S SONG (2004) BY HOWARD ments, and there are some fast passages in work has been transposed down to SKEMPTON. Peacock Press PJT 042 16th notes that require careful ensemble F major for a recorder quartet. The first (Magnamusic). Sop. voice, S rec & guitar. precision. movement is a typical French overture, Sc 5 pp. Pts 2 pp. ea. $12.50. The Concerto in C Major by Pepusch having a “Grave” section with dotted FRED’S BLUE GINGER STAIRCASE (b. Berlin 1667; d. London 1752) has notes followed by an “Allegro” section in MUSIC (2002) BY DAVID ELLIS. Peacock three movements with contrasting tempos 6/8, then returning to a final “Grave.” Press PJT 021 (Magnamusic). S & guitar (“Vivace,” “Grave,” “Allegro”) and I find it difficult, perhaps impossible, or piano. Sc 11 pp. Pts 4 pp. ea. $17.75. contrasting modes (C major, C minor, for amateur recorder groups playing TRIPTYCH (2003) BY JOHN VEALE. C major). This arrangement has been French overtures to reach the precision Peacock Press PJT 018 (Magnamusic). transposed from the original key of G. and stylistic effects achievable on strings. S & string quartet. Sc 11 pp. Pts 4 pp. The scoring for soprano and alto The following six dance movements, recorder/2 pp ea. strings. $19.50. recorders in the upper two parts, however, are delightful and quite All of the pieces covered in these originally for two altos, keeps the range of performable on recorders independent of reviews are part of Peacock Press’s “The these parts easier on the ear than in the the overture. They are typical examples Contemporary Recorder” series of publi- Pez, which has two sopranos on the top. of French Baroque dance music: “Gavotte cations, edited by the noted British In the first movement, “Vivace,” the en Rondeau,” “Sarabande,” “Menuet,” recorder player and new music specialist upper three recorders play around with a “Bourrée,” “Air” and “Gigue.” John Turner (photo above right, c.1999). lively theme and passagework in eighth The lower parts are quite easy with the Peacock is to be commended for notes over a harmonic bass and tenor. The soprano part somewhat more challeng- publishing these recorder works by second movement is an elegant “Grave,” ing—good teaching pieces. More experi- significant British composers, and in which two duets (soprano with first enced intermediate consorts who can play Turner is to be highly commended for alto and the second alto with tenor) them at appropriate tempos with stylistic continuing to commission works for the converse in dotted notes over the bass in articulation and added embellishments recorder from noted composers who are running equal eighths. The final “Allegro” will find that these dance movements have not “recorder specialists.” is like a giga with lots of imitation great audience appeal. Edward Gregson (b. 1945) is a and tossing about of themes. Thanks are due to members of the distinguished and highly regarded British Intermediate ensembles, either Colorado Springs, CO, ARS chapter, and composer. He is best known for his work one-on-a-part or with parts prudently to students at the Greater Denver chap- within the world of wind instruments— doubled, should love this piece! ter’s 2005 spring workshop, who all really particularly concert and brass bands. The Suite by Johann Bernhard Bach enjoyed playing these three multi- Many of his compositions in those genres (b. Erfurt, Germany 1676; d. Eisenach, movement works! are considered part of the standard Constance M. Primus repertoire. He is currently a faculty member at the Royal Northern College of Music in Manchester, England. Provincetown Bookshop Editions Gregson’s Romance is a recent revision for Turner of a work from 1964 originally “GO FOR NEO-BAROQUE!” written for clarinet. Turner commissioned and premiered both versions (with piano Andrew Charlton: Partita Piccola. For 4 Recorders (SATB) and with string quartet) of this work. The [Prelude; Allemande; Courante; Musette— recorder part remains identical between a neo-baroque epitome!] (Score & Parts, PBE-25) ...... $7.95 the two versions. The piano version is, however, far more Andrew Charlton: Suite Moderne. For 3 Recorders (ATB) than simply a “rehearsal” reduction, but [Baroque shapes but Hindemithian harmony] rather a fully performable alternative (3 Playing-Scores, PBE-44) ...... $9.95 version for when a string quartet is not available. The work is written in the appealing and personal tonal language of Southwest of Baroque. David Goldstein’s “baroque Suite” Gregson’s music; his style has remained on Cowboy Songs. For 2 Recorders (SA) (PBE-2) ...... $3.50 quite consistent throughout his career. A good source for Recorder & Viol Music of all publishers. The opening section of the work is The Provincetown Bookshop, Inc. marked “Slow and languid.” The music 246 Commercial Street, Provincetown, MA 02657 Tel. (508)487-0964 gains agitation and momentum towards a faster and more energetic section marked
44 American Recorder John Turner
The meter changes periodically (with Roger All of the pieces covered between 2/4 and 3/4, thus making the Sessions and in these reviews are simple guitar ostinato fall into different Roy Harris) places in relation to the melody. The after his initial part of Peacock Press’s overall effect of the work is hypnotic, studies in “The Contemporary creative and extremely effective. It his homeland. provides something that will truly sound Veale’s primary Recorder” series of “different” from other pieces without career was spent publications, edited by being listener-unfriendly in any way. writing scores I strongly recommend it. for British the noted British recorder British composer David Ellis (b. 1933) feature films, player and new music is noted primarily for his orchestral music. but he returned During his active career he worked prima- to composing specialist John Turner. rily for the BBC throughout England and concert music served finally as Head of Music for the BBC within the last “Flowing.” After a recorder cadenza, the North. He has served as composer-in- 20 years. mood of the opening returns at the end. residence with numerous ensembles and Although called Triptych, this work is This work is an attractive and com- has composed works for many significant cast in one movement that has three short pelling recorder work from a significant performers. In addition to the work re- sections. The composer writes: “All three composer of concert music. The recorder viewed here, he has composed a few other sections of this short piece are based on part is moderate in difficulty, and the work recorder chamber pieces—all for Turner, the same two themes. The brisk opening is strongly recommended as a recital offer- who is also commissioner of this work. section is dance-like, with much syncopa- ing, most especially if the recorder player Ellis writes the following about his tion. The second section is slower and can perform it with string quartet. As with Fred’s Blue Ginger Staircase Music: “This gently melancholy, with even the odd all of the editions in this Peacock Press piece was written to celebrate the renova- touch of intensity. The third section is a series, the score and parts are printed on tion of the medieval Staircase House in waltz, which implicitly tempts the players heavy paper and engraved with great care Stockport. The Fred and Ginger of the title into satirical caricature—in other words for appearance and page turns. are, of course, Astaire and Rogers from the it’s a bit of a spoof. The piece is intended British composer and accordionist heyday of the great Hollywood musical. to be fun for the players, fun for the Howard Skempton (b. 1947) became a Little excuse was needed for them to audience—and was even fun for an well-known name in the 1960s through launch into a dance routine, usually obsessional creative agoniser to write!” his association with composer and ideo- backed by a full symphony orchestra….” Veale is indeed correct that the work is logue Cornelius Cardew and the highly This work’s accompaniment is scored fun, and it maintains a pleasant and jovial avant-garde “Scratch Orchestra.” In recent in versions for either guitar or piano. It is spirit throughout. The string writing is years, like composer Gavin Bryars and cast in three brief movements. The first, particularly effective when combined with other active avant-gardists, Skempton has “Waltz in Green Chiffon,” is, after a slow the recorder part, which is moderately returned to a more traditional composi- introduction, a gracious and lilting waltz. difficult because of a number of extended tion style, founded upon simple and The second movement, “Steps in Blue,” runs. In recital it would make an excellent attractive musical ideas. Although not features a dancingly energetic recorder pairing with the Gregson Romance, known for recorder music, Skempton has part over a “boogie-woogie” bass in the reviewed above, when a string quartet is been widely performed as a composer of piano (or a “quasi double-bass” texture in available. orchestral and ensemble music. the guitar). The first few measures call for Skempton’s Feste’s Song is a brief piece some slap-tonguing. written in honor of the 90th birthday of The final movement, “Escalation in famed British musicologist and composer Red,” is a moto perpetuo for the recorder, Wilfrid Mellers. The song is a setting of a under which the piano/guitar play a slow poem by William Shakespeare from his and declamatory melody. The opening play Twelfth Night, beginning “When that I slow introduction of the first movement was and a little tiny boy,/With hey, ho, the returns as a coda at the very end. wind and the rain;/A foolish thing was but This piece is moderately difficult a toy/For the rain it raineth every day….” (mainly due to the speedy runs of the last Skempton’s setting is extremely simple movement) and light-hearted. Although and in a minimalist style. The guitar pro- there seems to be no end these days of vides a running three-beat ostinato of the “light hearted” works for the recorder, this pitches G and D only. Over this the work is certainly a valuable contribution recorder and the soprano double each oth- to this genre. This reviewer finds the er in a simple melodic song in the Lydian version with piano to be slightly more mode. At times the recorder and the effective than the version with guitar, soprano are separated by thirds; other although both are idiomatically written. times, they are in unison or an octave— Unusual for composers of his genera- but they are always metrically aligned. tion, John Veale (b. 1922), though born in Britain, studied composition in the U.S.
March 2006 45 THE ROSE IS SHAKEN IN THE WIND, The first song, “Spring Day, near Arrow ate the extended vocal lines without the OP. 137, BY JOHN JOUBERT. Peacock Press Town,” uses a soprano recorder; it is chordal support that would be provided PJT 035 (Magnamusic), 2001. Sop voice buoyant and vibrant as dancing trills and by a piano. & rec (one player, playing SAB). 2 sc figurations in the recorder part intertwine The score is well prepared and two 16 pp ea. $17.75. around active vocal arabesques. The copies are provided. However, a page Peacock Press’s wonderful “The second song, “Tombstone Song,” is slow turner (or photocopies) will be required Contemporary Recorder” series is edited and elegiac, using the bass recorder for the recorder player, in whose part there by noted British recorder soloist John so that the lines fall often below the are a number of page turns during active Turner, who either has commissioned or soprano voice. Scotch-snap rhythms lines. It is one of the finest works for voice performed the premiere of every work in (characteristic of traditional lament music and recorder that this reviewer has ever the series. Thus far, the series has focused of the British Isles) pervade the recorder seen, and is a piece that will be well worth largely on works by British composers part. The third song, “The Gardener’s the effort to prepare. who are best known in other musical ar- Song,” brings back an excited mood as the eas, outside of the recorder world. soprano recorder’s busy part mimics the OVERTURE TO “THE RIVALS,” BY Through Turner’s advocacy and enthusi- sounds of birds. The final song, “The Rose PETER HOPE. Peacock Press PJT 042 asm, many of these composers have been is Shaken in the Wind,” uses the alto (Magnamusic), 2004. Rec (one player, creating their first works for recorder for recorder and is beautifully elegiac. playing S’oS) or oboe, with bassoon him. The lovely poem contains evocative (or ’cello) & hc (or kbd). Sc 12 pp, pts British composer John Joubert memorial imagery (e.g., “All those I sing / 8 pp. ea. $12.50. (b. 1927) was born in South Africa but And among them name your name, / Who British composer Peter Hope (b. 1930) spent his educational and professional left the earth richer than when they has been an active presence on the British career in England, studying at the Royal came”), and the recorder and voice musical scene as an arranger (for such Academy of Music and teaching for many combine in very long extended phrases. artists as vocalists Jose Carreras and Kiri years at Hull and Birmingham universi- This work is a truly beautiful, moving, te Kanawa, and composers John ties. He has been retired since 1986 and and exceptional song cycle for soprano Williams and James Horner) and also has focused entirely on composition. and recorder and is strongly recommend- as a composer of original works. Joubert is extremely well known for ed to any recorder player who has the Overture to “The Rivals” is a self- his sacred music, where some of his opportunity to work with a strong vocalist. arrangement by Hope, in that it is based Christmas carols (notably Torches) The varied moods invoked will require on cues that he wrote as incidental music have truly become part of the standard sensitive collaboration between both for the Royal Academy of Dramatic Art’s contemporary carol repertoire. However, artists. The musical language throughout production of Richard Brinsley Sheridan’s he has worked throughout his career stays in the extendedly tonal world typical famous comedy. (The Rivals is the play in other musical forms, including a of Joubert’s compositions, and his use of containing the character Mrs. Malaprop, variety of works involving the recorder. the three types of recorders is perfectly whose name has become synonymous The Rose is Shaken in the Wind is a suited to the temperament of each song with a certain sort of “mis-speak.”) Hope’s four-song cycle of about 12 minutes and text. program notes for the work provide a spe- duration, based on poetry by New Zealand There is some difficult passagework cific demarcation of the measures within poet Ruth Dallas (b. 1919). It was for the recorder, although extended this overture that correspond to different composed in memory of soprano Tracey techniques are limited to flutter-tonguing scenes within the play. Chadwell, who had been an active in the last movement. The vocal part Originally written for recorder, performer of Joubert’s vocal music. requires a confident singer, able to negoti- bassoon and harpsichord, Hope notes that an oboe could substitute for the recorder, a ’cello for the bassoon, or any CELTIC BAROQUE CD - WHAT BETTER ST. PATRICK’S DAY GIFT? keyboard instrument for the harpsichord. It thus provides a variety of flexible per- CELTIC BAROQUE AND formance options. This reviewer, however, IRISH & SCOTTISH prefers the keyboard part played on the TRADITIONAL MUSIC piano to the harpsichord. The musical language is somewhat CD French-inflected, reminiscent a bit of the work of Francis Poulenc. Though the Da Camera general mood is light and bouncy, a slower middle section provides lyrical Emma Murphy recorders contrast. Susanna Pell viols The publisher has helpfully included Steven Devine harpsichord the parts for both recorder and bass together, whereas the keyboard score “Stunning, atmospheric, rousing, ends with a Ceilidh!” contains all three. Because of the passage- *SPECIAL OFFER* - Price: £11.00 ($15) + P&P Worldwide work, this piece is moderately difficult, but an appealing choice when one can To purchase copies, please visit: www.dacamera.co.uk play with a bassoonist or ’cellist. Carson P. Cooman
46 American Recorder INTERLUDES FROM “HAMLET” Alan Rawsthorne is probably the the theatrical in his writing. Like the (1961/2005), BY ALAN RAWSTHORNE, ED. best-known composer among the four. Rawsthorne, this would make a good AND ARR. DAVID ELLIS. Peacock Press PJT He was born in 1905, and died in 1971 piece for recital performance. 044 (Magnamusic), 2005. Rec (one player, after a distinguished career as a composer Finally, The Garden of Eden by Nicholas playing SA) & pf. $16.50. of both concert and film music. Marshall (b. 1942) is a suite of five pieces SONATINA (1964/2003), BY MICHAEL Composer David Ellis has made a very portraying the three inhabitants of the HURD. Peacock Press PJT 025 effective sequence from the complete Garden (Adam, Eve and the Serpent) as (Magnamusic), 2003. Rec (one player, score of selections involving the recorder, well as a “Siesta” taken by the two humans playing SA) & pf. Sc 18 pp, pt 7 pp. with the whole arranged edition tied before the arrival of the snake, and a very $19.50. together by the recurrence of a striding jazzy closing scherzoso entitled “A Little SONATINA, BY DAVID DUBERY. Peacock “Danish March.” While the piano part Temptation.” Obviously, there is much of Press PJT 009 (Magnamusic), 2003. Rec is very full on occasion and used promi- the dramatic here, too, and, of all the (one player, playing ST) & pf. Sc 18 pp, pt nently in a soloistic role, the balance with pieces under review, this might well go 5 pp. $17.75. the recorder is carefully maintained. over best in performance. THE GARDEN OF EDEN, BY NICHOLAS In common with the other music Marshall’s piano part is the fullest of MARSHALL. Peacock Press PJT 036 reviewed here, Rawsthorne’s writing these four pieces, perhaps reflecting its (Magnamusic), 2004. Rec (one player, features a sense of extended tonality with original scoring (not to mention a further playing S’oSA) & pf (hc). $17.75. recognizable key centers and a very alternative scoring for recorder and string These four recent editions are part melodic character, but with plenty of quartet). Partly for that reason, it is hard to of an ongoing series from Peacock Press dissonant coloration. This piece is partic- imagine that the part could be played entitled “The Contemporary Recorder,” ularly apt for public performance because effectively on harpsichord, as is indicated a series edited by renowned British of the very clear contrast of moods from as an option. Three of the movements recorder player John Turner. The series section to section, and because of the clear use alto recorder, while “Eve” is portrayed features recorder music written in a rela- connection with the Shakespeare play. by the soprano, and it is the sopranino tively conservative manner from the Michael Hurd’s Sonatina was also that provides the temptation at the end. mid-20th century, and ranging through to originally published in the 1960s. The The style has something of a popular feel truly contemporary music. composer himself, in consultation with to it, with plenty of strong rhythmic Turner, has made the transcription for characterizations and evident technical recorder: alto in the first two movements virtuosity in both the recorder and piano It is the Rawsthorne that and soprano in the last. Hurd studied with parts. Sir Lennox Berkeley, and this work is in Upper intermediate players of both perhaps makes the most some ways reminiscent of Berkeley’s own recorder and piano may be able to very fine Sonatina. Despite the diminutive comfortably manage certain movements lasting impression of title, Hurd’s is a substantial work lasting in these pieces, but they are really directed about eight minutes. toward advanced performers. While these pieces, but all four The three movements are in the flutter-tonguing is the only extended standard format of a first movement technique to be found, much of the are worth investigating. “Allegro” in something very like sonata soprano writing lies consistently quite form, a gently rocking second movement, high, and, despite the care that has There was a time, not so long ago, and a bright and virtuosic finale. Through- obviously been taken, much musical when an avant-garde style of writing for out, the two instruments are equal sensitivity will be necessary to maintain the recorder was predominant. As with the partners, and the music is very closely good balance between the parts and to music world in general, however, there has argued with lots of sophisticated play of make the most of dynamics and other more recently been a relaxing of bound- musical motive. expression marks indicated. aries and an openness to a variety of David Dubery’s three-movement The presentation from Peacock Press is musical approaches in the recorder world, Sonatina similarly equalizes the piano attractive and practical (with care taken to and more conservative styles of the sort and recorder parts (soprano recorder eliminate difficult page turns in the represented by the four pieces presented for the quick outer movements and recorder parts, for instance). There seems here have received new acceptance. tenor for the slow middle movement), to be only one discrepancy between score All of these pieces except the Dubery but is characterized by striking textural and part in all four editions, a missing Sonatina are reworkings of earlier contrasts and a more pungent harmonic accent in the recorder part in bar 40 of the incarnations. Hurd’s Sonatina was palette. Dubery (b. 1948) works primarily first movement of the Dubery. The Hurd originally written for flute and piano; the in the musical theater so, although his has several pages bound in twice, but the Marshall was originally for recorder, guitar musical material comes from the world staple binding makes this easy to remedy. and harpsichord; and Rawsthorne’s inter- of concert music, there is a keen sense of It is the Rawsthorne that perhaps ludes were taken from incidental music makes the most lasting impression of composed for a stage production of The these pieces, but all four are worth investi- Hamlet primarily featuring wind band. All gating for anyone with an interest in this the music has been transcribed well for Recorder Magazine style, which has given the recorder world recorder and piano, and all of the pieces we invite you to visit the site so many important and lasting works. have been performed in public by Turner www.recordermail.demon.co.uk Scott Paterson himself within the last few years.
March 2006 47 ANNIE’S BLUES COLLECTION version seems to have an extended range, MIDNIGHT RUN & DAVID’S (SWINGIN’ RECORDER JAZZFLÖTE), reaching to an A above the usual high F RAMBLE I & II, BY ROBYN ELLIS, BY UWE HEGER. Version for S (or of the typical alto. Orpheus Music OMP 11 flute/oboe): Noetzel N 3960 (C. F. Peters), The tessitura of pieces for which the (
48 American Recorder The editor indicates that the Turnhout pieces a bit simple and dry, they do make SOLO FLUTE À BEC, BY DETRI, ED. OLAF pieces can be sung by two voices or played a good introduction to these sorts of TETAMPEL & JÖRG JACOBI. Edition baroque on two instruments. For recorder players, Renaissance duets. eba1117 (Magnamusic), 2003. A, bc. Sc most of the duets would fit comfortably on The later pieces in the collection 9 pp, pts 4 pp. Abt. $8.25 + P&H. soprano and alto up, but there are other become a bit more challenging—though SONATA SEXTA & CHACONE [SIC], combinations of instruments that would still falling far short of the sort of BY DANIEL PURCELL, ED. JÖRG JACOBI. Edi- also work. In fact, part of the fun of these virtuosity Rogniono, for example, could tion baroque eba1150 (Magnamusic), pieces can be found in playing them on a show in his most elaborate divisions. 2004. A (Chacone also for voice flute), bc. variety of instruments, challenging your- This edition is indicated for various Sc 15 pp, pts 7 pp. Abt. $16.50 + P&H. self to read alto up an octave, tenor down similar instruments, not just recorders. SÄMTLICHE SONATEN, BAND III: an octave, etc. Many of the pieces work on soprano and SIBLEY NR. 15 & 25, BY GIUSEPPE SAM- The text for each song is included in tenor recorders, though often the lower MARTINI, ED. JÖRG JACOBI. Edition baroque the score, which aids in phrasing these voice is scored in the bass clef. The ability eba1103 (Magnamusic), 2004. A, bc. Sc pieces. Translations of the old French to read alto up an octave is needed for 17 pp, pts 11 pp. Abt $15.50 + P&H. verse are not included, however, but the several pieces. These three recent editions show pieces seem mostly to deal with the bitter- Both selections are typical of the fine German publisher “edition baroque” to be sweet pains of love. quality we have come to expect from an enterprising company issuing music London Pro Musica. There are minor that recorder players will want to investi- typos in each one, but none that would gate. All three volumes contain works Most of the duets would fit cause most players any difficulty (a repeat from the early- to mid-18th century, but comfortably on soprano sign used to close a section that doesn’t each piece has something special about it and alto up, but there actually repeat, for example). that places it apart from the typical This newly published edition of the Baroque sonata. are other combinations Turnhout contains two copies of the mu- The Sonata in C minor (Solo flute à bec) of instruments that sic so that the performers each have their by “Signor Detri” is found in a manuscript would also work. In fact, own copies. The much larger collection by at the university library in Rostock, Gastoldi comes as a single set requiring Germany. A brief note in the edition states part of the fun of these the players to share, but the print is large that little is known about Detri, not pieces can be found and clear enough that it shouldn’t be a even his first name, but that the style of his in playing them on a problem for most people. music puts it in the first half of the 18th variety of instruments. Geoffrey Allen century.
Turnhout was a Flemish composer born around 1520. His music shares the gentle sonorities of the Franco-Flemish school of musicians from this period. It isn’t surprising to find that he based these pieces on works by his contemporaries— the likes of Lassus and Crecquillion. They have a common beauty to them, though the pieces in Turnhout’s collection are much simpler than those of the best of his peers. The Gastoldi collection has quite a different sound to it. The Primo Libro was published a generation later than the Turnhout, in Milan to the south, and illustrates a shift in musical ideals. Only the first 20 duets in the Primo Libro are by Gastoldi; the remaining 16 duets are by Italian contemporaries like Vecchi, Rogniono and Cima, and are not included in this collection. Gastoldi’s pieces are more linear and dance-like than those by Turnhout. They were clearly meant as instrumental pieces and contain a bit more passagework. To my ear they lack the beauty of Turnhout’s harmonies, but that is a generalization, and this large collection has quite a bit of variety in it. While I find the Gastoldi
March 2006 49 It is a forward-looking style, however, register), but editorial alternatives make BATAGLIA FRANCESE, BY CLEMENT with some colorful melodic motion and the piece quite playable on alto. An JANEQUIN, ED. OLAF TETAMPEL. Edition harmonic surprises. There is a distinctly intermediate-level player could manage baroque EBA 5001 (Magnamusic), 2005. virtuosic quality to the writing too, both works with careful practice. AATB. Sc 15 pps, 2 pts (divided scores), especially in the fast movements, which Giuseppe Sammartini is well known to 8 pp ea. $22.50. feature extraordinarily large leaps as part recorder players as the composer of the CANZON DELLI UCELLI, BY CLEMENT of the usual quick-note figuration. Other- wonderful F Major Concerto for soprano JANEQUIN, ED. OLAF TETAMPEL. Edition wise the sequence of movements is a fairly recorder. In Jacobi’s preface to this edition baroque EBA 5002 (Magnamusic), 2005. typical “Adagio,” “Presto,” “Adagio” and of two of Sammartini’s sonatas, the editor SATB. Sc 15 pp, 2 pts (divided scores), “Giga.” notes that the composer seemed to have 8 pp. ea. $18.50. Editor Jörg Jacobi pairs a Sonata in enjoyed writing for the recorder: the DIE NACHTIGALL (CANZON A minor by Daniel Purcell (from a 1709 manuscript collection in Rochester, NY, “LA LUSIGNUOLA” BY joint publication with Godfrey Finger) from which these pieces are taken, TARQUINIO MERULA AND CANZON with an arrangement of an orchestral contains several unpublished sonatas “LA ROSIGNOLA” BY GIOVANNI chaconne from Purcell’s incidental music for the instrument. BATTISTA RICCIO), ED. JÖRG to the play, The Unhappy Penitent. While Sammartini did have some of these JACOBI. Edition baroque EBA 5050 the two works really have nothing to do sonatas published, but in adaptations for (Magnamusic), 2004. SATB + bc for the with one another—save that they are the more commercially viable transverse Riccio. Sc 12 pp, 4 pts 4 pp ea, bc pt 3 pp. presented here in the same key—Daniel flute. $23.50. Purcell (Henry’s brother) was a very fine Once again, as in the Detri and the These three recent and very welcome composer, and it is a pleasure to have this Purcell, it is the melodic invention and volumes are the first to cross my music music made available. harmonic daring that have drawn Jacobi’s stand from a German publisher previous- eye to these sonatas. They also share other ly unfamiliar to me, “edition baroque” of characteristics of the avant-garde flute Bremen. Daniel Purcell sonatas of the late Baroque with their The four pieces are all what later gener- passages of interpolated quick triplet ations would term “program music”— (Henry’s brother) motion, expressive melodic leaps, and that is, music that contains an extra- innovative form (the C minor Sonata musical meaning or program. Modern lis- was a very fine consists of a common-time “Andante,” teners are familiar with the Romantic tone 3/4 “Spiritoso,” and cut-time “Allegro,” poems of Liszt and Smetana, but the con- composer, and all to be played without a break). cept of program music dates back to the At the same time, the sonatas are quite time of the early Renaissance, if not before. it is a pleasure idiomatic to the recorder, though they will The 16th-century four-part chanson require an experienced player to make the “La guerre” by Clement Janequin is to have this music most of their challenges. considered by many to be the first These editions are neat and carefully important piece that specifically evokes made available. laid out. There are occasional discrepan- the sounds of battle. Attempts at ono- cies between score and parts, some of matopoeic effects had come earlier (for which may make for surprises during a example, Isaac’s four-part “A la bataglia”), The Sonata was published originally in read-through, but all of which are easily but Janequin’s “La guerre” served as a F minor for violin, but Jacobi’s transposi- resolved. Jacobi’s continuo realizations model for numerous imitators. It was tion makes the piece seem quite idiomatic go well beyond simple chord resolution, written to commemorate the victory in for alto recorder. Purcell’s harmonically even to the extent of frequently adding 1515 at the Battle of Marignano, where based style is full of intriguing textures and extra harmonic color, but they are François I secured a victory over Swiss striking melodic gestures. effective. Edition baroque is a publishing mercenaries employed by Duke Ercole The Chacone would work best on a house worth keeping an eye on. Sforza of Milan. “La guerre” was first voice flute (or a tenor with a good high Scott Paterson published by the Parisian publishing house of Pierre Attaingnant in 1528. SWEETHEART Some of the effects used by Janequin in “La guerre” show up in later battle pieces: FLUTE CO. repeated notes and ostinato figures indicating drum rolls and triadic motifs Baroque Flutes: our own “Sweetheart” model representing trumpet calls. Battle pieces Fifes, Flageolettes showing these characteristics are seen as “Irish” Flutes & Whistles. late as the eight-part madrigal by Andrea Send for brochure and/or Gabrieli (published in 1587) and the antique flute list. unusual solo ricercar by Aurelio Virgiliano 32 South Maple Street in Il dolcimelo. Enfield, CT 06082 Clement Janequin was born around (860) 749-4494 1485 in Châtellerault and died in Paris in [email protected] www.sweetheartflute.com January 1558. His career was a curious one. He seems to have been the only
50 American Recorder major composer of the era not to have held object of the courtier’s attention. Often quarrelsome personality, as he spent the a post at a major court or cathedral. It was birdsong can stand for spring, joy and next few years bouncing from post to post, only in his final years that he became rebirth, as in the renowned “Sumer is usually leaving in a dispute over salary. compositeur ordinaire du roi. The high icumen in.” As his compositions show, he was quality and popularity of Janequin’s many Of the three birdsong-inspired works aware of the stylistic musical innovations chansons has accounted for his lasting under consideration here, the piece by from Venice by Monteverdi and his influence. Janequin is the oldest. It dates from a contemporaries. Merula was of the The piece by Janequin reviewed here, posthumous publication, by the Venetian generation that grew up with the Bataglia Francese, was published post- publishing house of Angelo Gardane, concertante style and did not think of it humously by Angelo Gardane in Venice in Musica de diversi autori sopra la bataglia as a novelty. 1577. It is similar to the very long and francese et Canzon, delli Uccelli of 1577— His Canzon “La Lusignola” was first elaborate eight-part pieces intended for the same collection from which the above- published in 1615 and is thus an early wind instruments by Annibale Padovano reviewed Bataglia Francese was taken. piece by Merula. Many recorder players and Andrea Gabrieli (1590). This four- Canzon delli Ucelli (literally, “song of will know it from earlier editions. It is part battle piece is great fun to play, but birds”) is a substantial piece, far longer more in the mold of the canzoni published it is long (233 measures), and therefore and weightier than the short bon-bon-like 20 years earlier by such composers as requires great stamina. The tendency may pieces typical of the Renaissance. The Andrea and Giovanni Gabrieli than the be to take this piece too slowly—the alla nature of this piece fits a recorder consort dramatic madrigals for which Merula breve time signature indicates a whole perfectly and suggests that the piece would later become famous. note pulse, and the triple-time sections might have been originally intended As the opening motive clearly shows, should be played with a dotted whole note for recorders. Recorders were frequently this is music more suitable for strings than beat. called upon to deliver birdsong. winds, but, given the natural association There are a few problems with this As in Janequin’s Bataglia Francese, between birdsong and recorders, the piece edition of Bataglia Francese, such as the the correct choice of tempo is critical can work very well played by a recorder numerous repeated low Cs in the tenor to the success of a performance of this consort, particularly an advanced group. part. Played on a Baroque recorder, these piece. If the birdsong upon which Each member must have a clear notes can be swamped by the activity in this piece is based is truly to sound command of double-tonguing in order to the other parts; if a Renaissance tenor like birdsong, then a whole note beat clearly articulate the rhythms and recorder is not available, doubling of this should be taken. ornaments. The natural tendency with part is highly recommended. Also, as in Bataglia, the parts represent intermediate ensembles would be to take Also, the title page indicates this a bit of a problem because, again, rather a tempo commensurate with the group’s edition is suitable for violas da gamba or than giving each player his or her own ability to handle the fastest notes, with violins. This is a misleading statement. part, the parts are printed in pairs: the unfortunate result of playing the The publisher provides only two pairs of “Recorder I/II” and “Recorder III/IV.” Giv- music much too slowly. In this case the parts (divided scores): Alto Recorders I en that each pair of parts has eight pages, individual players must have the tech- and II, and Tenor and Bass recorders. The this decision on the publisher’s part nique to accommodate the demands of reasoning behind this escapes me. mandates a large number of page turns. the music, which are considerable but If each player had been provided with While the music is certainly delightful, not insurmountable. his or her own part, rather than sharing the edition could use some reworking. Giovanni Battista Riccio remains a parts, the notation could have been made Enterprising players will probably find shadowy figure, despite more than larger and no page turns would have been themselves either cutting and pasting, or 30 years of research into his life and work. necessary. (There is a single sheet for page using music editing software, to create All that is known about him is that he was 3 to avoid a page turn, but this requires more usable parts. appointed organist at the confraternity of three pages to be laid out instead of The volume entitled Die Nachtigall San Giovanni Evangelista in the San Polo two). This is a difficult situation for (“the nightingale”) contains two pieces: district of Venice in 1609. Although hired recorder players, but it is impossible Canzon “La Lusignola” by Tarquinio as an organist, he was described in his for viol players, so the only option is to Merula and Canzon à 4 la Rosignola in Ecco contract as a violinist. He published three make illegal copies. Additionally, the by Giovanni Battista Riccio. Both are books of vocal religious music and secular commentary is completely in German— based on birdsong—namely, that of the instrumental music in 1612, 1614, and unlike, by comparison, London Pro nightingale. 1620/1. Musica, which routinely provides com- Merula (c.1594/5-1665) was one of mentary in both English and German. the most progressive composers working KEY: rec=recorder; S’o=sopranino; S=soprano; Birdsong dates back even earlier than in the generation succeeding Gabrieli. He A=alto; T=tenor; B=bass; gB=great bass; cB= contra bass; Tr=treble; qrt=quartet; battle music—at least as far back as the was born in Cremona and was known as a pf=piano; fwd=foreword; opt=optional; 14th century. It is frequently found in violinist as well as organist. After spending perc=percussion; pp=pages; sc=score; music of the Renaissance, usually a short three-year appointment in Lodi as pt(s)=part(s); kbd=keyboard; bc=basso con- with some allegorical meaning. The organist of the church of the Incoronata, tinuo; hc=harpsichord; P&H=postage and unmistakable sound of the nightingale he served less than two years as the organ- handling. Multiple reviews by one reviewer are followed by that reviewer’s name. Please submit sometimes represents the plaintive call ist for Sigismund III of Poland. He left his music for review to: Constance M. Primus, Box of the unrequited love of the courtier, next appointment (in Bergamo) under a 608, 1097 Main St., Georgetown, CO 80444. while the cuckoo may stand for the fickle cloud. He seems to have had a bit of a
March 2006 51 Today Riccio is perhaps best known CONSIDER ADVERTISING IN to members of the ARS as one of the ______CLASSIFIED earliest composers to write solo music ______specifically for recorder. These pieces ______were published in the 1970s by London ______Pro Musica. Full page ...... $565 Riccio’s ensemble canzona, La 2/3 page ...... $420 1/2 page ...... $345 Rosignola, is another substantial piece 1/3 page ...... $270 well worth investigating. As its full title 1/4 page ...... $210 indicates, it is an echo canzona. At first Where the haves 1/6 page ...... $165 1/8 page ...... $120 glance, it appears to be intended for a and have-nots 1/12 page...... $ 90 combination of instruments other than of the recorder world 1 column inch ...... $ 55 for recorders, since dynamic markings can find each other Prices include web site/e-mail link directly from abound. In fact, Riccio used dynamic your ad in AR On-line,
52 American Recorder