September 2009 Published by the American Recorder Society, Vol. L, No. 4 • www.americanrecorder.org

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Harris: Cool 'Corders For Soprano Recorder and Piano Nine intermediate arrangements for soprano recorder in styles like swing, blues, rock, march 0DJQDPXVLF'LVWULEXWRUV,QF waltz and Latin for the classroom or performance. A CD contains a great piano accompaniment. ORDER TOLL FREE: (888) 665-2721 Item SP02410R TEL: (860) 364-5431 FAX: (860) 364-5168 $19.95 Email: [email protected] Also new from Sweet Pipes… Stern: Recorders without Shop Online at magnamusic.com Borders, Volume 2 Search or browse our inventory of over 10,000 pieces for For soprano duet and percussion recorder and more, and don't forget our hundreds of 13 beginning to intermediate recorder pieces from recorder models and all the accessories and maintenance around the world using one octave (low D to supplies you need. middle D) and percussion. The included CD contains 4 tracks for each pieces; performance, Don’t forget to mention you’re an ARS member and percussion only, percussion with recorder 1 and percussion with get a surprise! recorder 2. Item SP02411, $19.95 Editor’s Note ______Volume L, Number 4 September 2009 erendipitously, this issue has turned into Features S a collection of celebrations. Tales of Two Summer Festivals Earliest in the year was Play-the- Happy Birthday, ARS! The 70-year-old organization Recorder Month in March. Turn to page 33 to read what chapters did during this celebrates in Style with a Festival and Conference . . .6 annual celebration and on Recorder Day! The 2009 Boston Early Music Festival ...... 18 Next was the birthday of Terry Riley’s 6 In C—a piece that changed the way a lot Departments of us thought about new music when it Advertiser Index and Classifieds ...... 40 appeared on the scene 45 years ago. AR columnist Tim Broege writes about then Chapters & Consorts ...... 33 and now on page 28. Quartet New Gen- Play-the-Recorder Month 2009 eration was front-and-just-off-center on the stage of Carnegie Hall as an all-star Education ...... 30 ensemble assembled to play this landmark Scott Paterson describes the Royal School 18 work. of Music online resources for recorder players Summer usually means that the ARS is involved in offering events at a summer Music Reviews ...... 38 early music festival, and this summer was no On the Cutting Edge ...... 28 different. Reports of events of interest to recorder players during the Boston Early Recorders—specifically Quartet New Generation– Music Festival are compiled starting on onstage as part of another birthday celebration page 18. The ARS’s 70th birthday festivities President’s Message ...... 3 25 continued in late July and early August with Lisette Kielson writes about success, celebrations, a Festival and Conference in St. Louis, and the ARS Festival and conference MO. Members shared their experiences with you, starting on page 6. Q&A ...... 25 In her President’s Message on page 3, Readers answer a question from Carolyn Peskin Lisette Kielson writes about what happens as 2009 draws to a close. (Hint: keep on about what you use in place of a thumbrest celebrating the recorder!) Tidings ...... 4 Gail Nickless 28 Richard M. Eastman (House of Porter) dies

GAIL NICKLESS, EDITOR ON THE CONTRIBUTING EDITORS TOM BICKLEY, COMPACT DISC REVIEWS • FRANCES BLAKER, BEGINNERS & TECHNIQUE COVER: TIMOTHY BROEGE, 20TH/21ST-CENTURY PERFORMANCE • CAROLYN PESKIN, Q & A Celebrate! CONSTANCE M. PRIMUS, MUSIC REVIEWS • MARY HALVERSON WALDO, EDUCATION Anaheet Gazder ADVISORY BOARD MARTHA BIXLER • VALERIE HORST • DAVID LASOCKI • BOB MARVIN ©2009 THOMAS PRESCOTT • CATHERINE TUROCY• KENNETH WOLLITZ

WWW.AMERICANRECORDER.ORG GLENNA LANG, COPYRIGHT©2009 AMERICAN RECORDER SOCIETY, INC. DESIGN CONSULTANT ARS Chapters

ALABAMA GEORGIA Long Island: Alabama Recorder Assoc.: Jennifer Atlanta: Barbara Zotz (631-421-0039) Garthwaite (256-586-9003) Mickey Gillmor (404-872-0166) New York City: Gene Murrow Birmingham: (646-342-8145) Janice Williams (205-870-7443) HAWAII Rochester: Liz Seely (585-473-1463) Hawaii: Irene Sakimoto Rockland: Jacqueline Mirando AMERICAN ARIZONA (808-734-5909) (845-624-2150) Desert Pipes (Phoenix): Big Island: Roger Baldwin Westchester: RECORDER Linda Rising (602-997-6464) (808-935-2306) Erica Babad (914-769-5236) Arizona Central Highlands West Hawaii Recorders: SOCIETY (Prescott): Georgeanne Hanna Marilyn Bernhardt (808-882-7251) NORTH CAROLINA inc. (928-775-5856) Carolina Mountains: Tucson: ILLINOIS Carol Markey (828-884-4304) Scott Mason (520-721-0846) Chicago: Mark Dawson Triangle: Mary McKinney Honorary President (773-334-6376) (919-489-2292) ARKANSAS Chicago-West Suburban: Erich Katz (1900-1973) Aeolus Konsort: Laura Sanborn–Kuhlman OHIO Honorary Vice President Greater Cleveland: Don Wold (501-666-2787) (630-462-5427) Edith Yerger (440-826-0716) Winifred Jaeger Bella Vista: Barbara McCoy (479-855-6477) LOUISIANA Toledo: Marilyn Perlmutter Baton Rouge: (419-531-6259) Statement of Purpose CALIFORNIA Cody Sibley (225-505-0633) OREGON The mission of the American Recorder Society is Central Coast: Margery Seid New Orleans: (805-474-8538) Victoria Blanchard (504-861-4289) Eugene: Lynne Coates to promote the recorder and its music by East Bay: Susan Jaffe & David Kemp (504-897-6162) (541-345-5235) developing resources and standards to help (510-482-4993) Oregon Coast: Corlu Collier people of all ages and ability levels to play and Inland Riverside: Greg Taber MARYLAND (541-265-5910) Northern Maryland: Portland: Zoë Tokar (971-325-1060) study the recorder, presenting the instrument to (951-683-8744) Monterey Bay: LouAnn Hofman Richard Spittel (410-242-3395) new constituencies, encouraging increased career PENNSYLVANIA (831-439-0809) Bloomsburg Early Music Ens.: opportunities for professional recorder MASSACHUSETTS North Coast: Kathleen Boston: Justin Godoy Susan Brook (570-784-8363) performers and teachers, and enabling and Kinkela-Love (707-822-8835) (781-507-4891) Erie: Linda McWilliams Orange County: Lois Sheppard (814-868-3059) supporting recorder playing as a shared social (562-431-0454) & Recorders/Early Music experience. Besides this journal, ARS publishes Metro-West Boston: Sheila Philadelphia: Rayma Zack (949-624-3448) Beardslee (978-264-0584) Vincent Hurtubise (215-438-6409) a newsletter, a personal study program, a Redding: Kay Hettich Worcester Hills: Doug Bittner Pittsburgh: Helen Thornton directory, and special musical editions. Society (530-241-8107) (412-781-6321) Sacramento: Steve Sherman (508-852-6877) members gather and play together at chapter (916-489-2771) & MICHIGAN RHODE ISLAND meetings, weekend and summer workshops, and Robert Foster (916-391-7520) Ann Arbor: Rhode Island: many ARS-sponsored events throughout San Diego County: Harvey Annabel Griffiths (734-213-3172) David Bojar (401-944-3395) the year. In 2009, the Society enters its Winokur (619-334-1993) Kalamazoo: Charles Vreeland San Francisco: Dana Vinicoff (269-342-8069) TENNESSEE eighth decade of service to its constituents. (415-908-3258) Metropolitan Detroit: Claudia Greater Knoxville: Sonoma County: Novitzsky (248-548-5668) Ann Stierli (865-637-6179) Board of Directors Dale Jewell (707-874-9524) Northwinds Recorder Society: Nashville: South Bay: Janet Smith (231-347-1056) Janet Epstein (615-297-2546) Lisette Kielson, President Liz Brownell (408-358-0878) Western Michigan: Jocelyn Shaw TEXAS Laura Sanborn–Kuhlman, Southern California: ( 231-744-8248) Jerry Cotts (310-453-6004) & Austin: Marianne Weiss Kim Vice President; Fundraising Chair (512-795-9869) Marilyn Perlmutter, Secretary; Juanita Davis (310-390-2378) MINNESOTA Twin Cities: Barbara Aslakson Dallas: Jack Waller Scholarship Chair COLORADO (952-545-3178) (972-669-1209) Cathy Emptage, Treasurer; Boulder: Mike Emptage Rio Grande: Martin Winkler (970-667-3929) MISSOURI (575-523-0793) Finance Chair Colorado Springs: Janet Howbert St. Louis: Matthew Ross, Assistant Secretary; (719-632-6465) Kathy Sherrick (314-822-2594) UTAH Membership Co-Chair Denver: Dick Munz Utah (Salt Lake): Mary Johnson NEVADA (801-272-9015) Bonnie Kelly, Assistant Treasurer; (303-286-7909) Fort Collins: Sherry Pomering Sierra Early Music Society: Chapters & Consort Chair; Special VERMONT (970-484-0305) Kay Judson (775-322-3990) Monadnock: Events/Professional Outreach Co-Chair Early Music Society of NEW HAMPSHIRE Kristine Schramel (413-648-9916) Letitia Berlin, Special Events/ Western CO: Bev Jackson Monadnock: & Lynn Herzog (802-254-1223) Professional Outreach Co-Chair (970-257-1692) Kristine Schramel (413-648-9916) VIRGINIA Mark Davenport, Education Co-Chair CONNECTICUT & Lynn Herzog (802-254-1223) Northern Virginia: Connecticut: Elise Jaeger Susan Richter, Marie–Louise Smith NEW JERSEY Edward Friedler (703-425-1324) (203-792-5606) Shenandoah (Charlottesville): Leslie Timmons, Education Co-Chair Eastern Connecticut: Bergen County: Mary Halverson Waldo, Publications Chair Mary Comins (201-489-5695) Gary Porter (434-284-2995) Joyce Goldberg (860-442-8490) Highland Park: Donna Messer Tidewater (Williamsburg): DISTRICT OF COLUMBIA (732-828-7421) Vicki H. Hall (757-565-2773) Nancy Weissman, Counsel Navesink: Lori Goldschmidt Washington: Art Jacobson WASHINGTON (301-983-1310) (732-922-2750) Moss Bay: Staff Princeton: Ralph Lusher (425-275-6777) DELAWARE Louise Witonsky (609-924-2752) Kathy Sherrick, Administrative Director Brandywine: Roger Matsumoto Seattle: Ruth Pattison 1129 Ruth Drive (302-731-1430) NEW MEXICO (206-525-9878) Albuquerque: Bryan Bingham St. Louis, MO 63122-1019 U.S. WISCONSIN FLORIDA (505-299-0052) 800-491-9588 toll free Ft. Myers Recorder & Early Las Vegas (Flat & Baroque in Milwaukee: Carole Goodfellow Music Ens.: Sue Groskreutz (262-763-8992) 314-966-4082 phone Las Vegas): Tom Curtis Southern Wisconsin: 314-966-4649 fax (239-267-1752) (505-454-4232) Gainesville: Peter Bushnell Marilyn Oberst (608-836-0269) [email protected] Rio Grande: Martin Winkler (352-376-4390) (575-523-0793) CANADA www.AmericanRecorder.org Largo/St. Petersburg: Santa Fe: Montréal: Mary McCutcheon Elizabeth Snedeker (727-596-7813) Jane Thomson (505-986-0753) (514-271-6650) In accordance with the Internal Revenue Service Miami: NEW YORK Toronto: Taxpayer Bill of Rights 2, passed by the United States Phyllis Hoar (305-385-5386) Sharon Geens (416-699-0517) Congress in 1996, the American Recorder Society makes Palm Beach: Gail Hershkowitz Buffalo: Mark Jay (716-649-1127) (561-732-5985) Hudson Mohawk: freely available through its office financial and Darleen Koreman (518-482-6023) Please contact the ARS office incorporation documents complying with that regulation. Sarasota: Margaret Boehm to update chapter listings. (941-761-1318) 6 September 2009 American Recorder President’s Message ______Greetings from Lisette Kielson, ARS President [email protected]

ell, we had our big birthday previous years’ experiences inspired Wcelebration. We celebrated the As we soon close out the celebratory 2009 Festival and ARS’s 70th July 30-August 2 at the this organization’s Conference. There will be more second ARS Festival and Conference “big year,” will 71 projects planned, different tasks in St. Louis, MO. And what a party be any less important? completed, doors opened, enthusiastic it was: a long weekend devoted to Absolutely not— greetings, and new years to celebrate. the recorder, to the music, and just as 69 was not. There’s talk of a next Festival and to the people who make it so alive. Conference. Oh yes, there will Jam-packed days and evenings This milestone birthday is just undoubtedly be another—not next honored all the ways in which the part of the big picture, the process, the year or the year after. But there’s no recorder is relevant to us and brings journey. Yes, our planning for this reason to wait until a “big year.” meaning to our lives. It was an event project concludes; our task lists get Every year is big! that a lot of us will remember for a checked off; we vacate the dorm; we long time—and it was a huge success! bid our friends and colleagues P.S. to all those involved in the How do we measure success? farewell; and yes, in a few months, 2009 ARS Festival and Conference: By fame? Fortune? Recognition? incredibly, 2009 will be behind us. But I thank you for your presence, Living debt-free? By purely surviving, it’s all so fluid and connected. for your insightful ideas and taking one day at a time? Maybe The ARS’s 70th anniversary, engaging conversations; for yes to all. as momentous as it seems to me, your laughter, endless energy, Success, and what it means to doesn’t exist alone, in a bubble. The and wonderful music-making! each of us, is determined individually experiences from this year (in general) (although there do exist societal and from the Festival and Conference The pressures, expectations and prescribed (in particular) will create memories Recorder Magazine values). It is a very personal issue. generating energy and ideas for the we invite you to visit the site I announced to the Board on the day future, just as energy and ideas from www.recordermail.demon.co.uk before the Festival and Conference that I considered it to be a success, even though it hadn’t yet started. Even though we didn’t know if we would break even, raise money, or go “in the red.” It was actually happening, running, after all the work that had gone into producing it—from the Early Music America Magazine is the quarterly publication for the Early Music Community in Board vote in 2006 to pursue it, to the North America: Professionals, Students, and realization of it three years later in Audience members. St. Louis—yes, a success! So now as we enter the last quarter Articles on performance practice, trends in the of 2009, as we soon close out this field, recording reviews, and a new book reviews organization’s “big year,” will 71 be department. any less important? Absolutely not— Call 888-722-5288 or email [email protected] just as 69 was not! for a FREE sample issue.

www.AmericanRecorder.org September 2009 7 Tidings ______Composer Richard M. Eastman dies, ______new Bay Area early music leaders Bits & Pieces training in the field of early music. and Geography” for the International This year’s winners included Bryan Association for the Study of Popular Duerfeldt, recorder, a student at Music, Canada – Going Coastal: Jefferson Senior High School in Peripheries and Centres in Popular Early Music America (EMA), the Bloomington, MN, who attended Music at Dalhousie University. national service organization for the the Amherst Early Music Festival. ARS Board member Mark Dav- field of early music, has announced the Visit www.earlymusic.org for enport has released his first CD at winners of its 2009 scholarships. information on future scholarships. www.cdbaby.com/cd/markdaven The five outstanding students ARS Past President Alan Karass port. The alternative pop selections received support to attend summer presented a paper in June on “Festivals feature his vocal and keyboard talents, early music workshops and advanced in Tunisia: Music, Cultural Identity, with some recorder playing. Recorders in New York City viola. But anyone who took time to QNG, is a piece of long-held notes listen heard duos from late Medieval and slowly changing chords, full of By Anita Randolfi, New York City, NY to late Baroque. They played for an hardly audible rustling sounds, and hour, moving seamlessly from instru- lugubrious in mood. Also true to the There was a fair amount of recorder ment to instrument, undaunted by the theme were Ryohei Hirose’s Lamenta- activity in New York last spring. The distractions. tion (1975), with extended techniques Viola da Gamba Society of Greater A month later (May 9), I heard like harmonics and slow glissandi, for NY presented Eva Legêne, recorder; Booth again as soloist in Bach’s Bran- a ghostly, moaning affect; and chorale- Wieland Kuijken, gamba; and Arthur denburg Concerto No. 2 with Big Apple like Christe (1996), by Fulvio Caldini, Haas, harpsichord, in an April 7 con- Baroque. In the outer movements, the lovely in sound and serious in intent. cert at the Church of St. Paul and St. recorder was difficult to hear; the con- The final piece was Mortal Flesh Andrew. Perhaps the most interesting ductor allowed the trumpet to play too (2008), written for QNG by Pulitzer aspect for recorder players of the all- loud. In the trumpetless middle move- Prize-winning American composer Baroque program was Legêne’s play- ment, the balance was better; Booth’s Paul Moravec. Impressed by all the ing of Van Eyck’s Pavan Lachrymae excellent playing could be heard. recorder sizes the QNG members on a Rosenborg soprano made, from On April 23, a few blocks south play, Moravec composed Mortal Flesh narwhal tusk, especially for Legêne. It of St. Paul’s, at Broadway and Wall so that 20 instruments are employed, has a powerful, impressive sound in all St., Quartet New Generation moving from the largest and lowest- registers. She clearly enjoys playing it. (QNG) played on the Trinity Church sounding to the smallest and highest- In a less-than-formal situation at midday series. QNG, aware of Trinity sounding—and requiring very quick the 18th-century St. Paul’s Chapel, Church’s proximity to the World and tricky instrument changes. It’s a recorder was part of a Sound Installa- Trade Center site, titled its program terrific piece, well-thought-out for tion On Good Friday (April 10). St. “Momento Mori.” They played six recorders, at once serious and witty. Paul’s is near the World Trade Center pieces, two from historic repertory and The next evening, QNG was on site—so close that its survival is one of four from the late-20th and 21st cen- the all-star roster for the 45th-birthday the wonders of that terrible day. The turies. The older pieces —a fugue performance of Terry Riley’s minimal- concert was part of a day-long com- from Bach’s Art of Fugue and Swee- ist masterpiece In C (see Tim Broege’s memoration of 9/11. The crowds who linck’s Variations on “Mein junges Leben column in this issue). Alas, I was not visited St. Paul’s—with the distrac- hat ein End”—were beautifully played, able to attend. QNG—and by exten- tions they created—did not make an but the heart of QNG’s program was sion, the recorder—had a bonus when easy recital environment for Deborah the new works. the New York Times published a photo Booth, recorder and Baroque flute; Passages (2006), written by NY of the event, with QNG and their and Louise Schulman, vielle and composer Gordon Beeferman for recorders prominently visible.

8 September 2009 American Recorder Changing Tones Composer Richard M. Eastman dies New leaders of three important Richard Morse Eastman—teacher, writer, and composer—died peacefully in organizations in the San Francisco his sleep on June 17 at his longtime home in Naperville, IL. He was 92. (CA) Bay Area will have a substantial Born on Long Island, NY, and raised in Chicago, Eastman received a impact on the future of early music in bachelor’s degree in political science from Oberlin College, did graduate work at the Bay Area—in particular, on the the Yale School of Drama, and earned master’s and Ph.D. degrees at the Uni- future of the Berkeley Festival, the versity of Chicago. After serving as a major in the U.S. Army during World War biennial international early music II, he accepted a teaching post at North Central College in Naperville, where he festival held since 1990. remained for 36 years (1946-1982), serving as a professor of English, dean of Matías Tarnopolsky has left his faculty, chairman of general studies, and vice president for academic affairs. job as vice president of artistic plan- In addition to his teaching career, Eastman was a prolific writer. He ning for the New York Philharmonic authored three textbooks on writing and literature as well as several works of to become director of the University fiction, mostly collections of essays and short stories. After retiring from of California–Berkeley’s Cal Perfor- teaching, he co-founded a local Writers Group and wrote guest editorials for mances. He succeeds Robert Cole, both major Chicago newspapers. His total output of writings spanned a period whose 23-year tenure brought consis- of over 40 years. tent and innovative artistic growth. During his retirement, Eastman also pursued a second career in music. The 103-year-old performing arts Having had a passion for music ever since he played in a high school jazz presenter/producer offers up to combo, he began taking recorder lessons in the 1978 in a recorder class at North 120 multidisciplinary performances Central College. His first recorder teachers were ARS members Louise Austin annually and is the senior partner in and Bill Nelson. His serious interest in the instrument led him to join the ARS the Berkeley Festival. Tarnopolsky is and the West Suburban Early Music Society (an ARS chapter near Chicago), interviewed at www.youtube.com/ and he co-founded a recorder consort called West Winds. After 1997, when his watch?v=9hExQefE15o. left arm had to be amputated as the result of a bacterial infection, he continued Harvey Malloy is now executive performing in that ensemble, playing his part on a synthesizer or accompanying director of the San Francisco Early the group on percussion. Music Society (SFEMS). A lutenist, Eastman also greatly enjoyed composing recorder music. Having taken a he has taught music in the California theory course at Oberlin during his undergraduate years and having written State University system, and has a several songs for a student musical production, he returned to composing as a background in international business. senior citizen. After studying counterpoint with Ann McKinley, music chair at Malloy follows Robert Jackson, North Central College (and later a composer for the ARS Members’ Library), he longtime SFEMS administrator, began writing recorder music in 1983. who still serves on the SFEMS board. Three of his early recorder works were published by Loux Music Publish- Founded in 1975, SFEMS offers an ing Co. In 1990, he founded his own desktop publishing firm, House of Porter early music concert series and summer (named after Porter Ave., the street on which he lived). He turned out nearly early music workshops. 150 works for recorder ensembles of various sizes, some of which won prizes in Peter Pastreich, San Francisco composition contests sponsored by the Chicago ARS Chapter. Two of his duets, Symphony executive director from “Harlequin” and “The Dancing Lesson” were published as an ARS Members’ 1978 to 1999 and a key orchestra con- Library edition. sultant, is now executive director of Eastman was predeceased in 2007 by his wife of 64 years, Vivian Bolger the period-instrument Philharmonia Eastman. He is survived by three daughters: Clare Eastman, Susan Eastman, Baroque Orchestra. He succeeds and Julie Eastman (Mike Sollins). Memorial gifts may be made to North Early Music America board member Central College in memory of Richard and Vivian Eastman. Condolences may Robert Birman, who is now CEO of be sent to the Eastman family at 961 East Porter Avenue, Naperville, IL 60540. the Louisville (KY) Orchestra. Dick was a remarkable person—brilliant, but also modest and gracious. As fellow composers and lovers of the recorder, we corresponded for some 15 years starting in 1991. I met him only once, when a student ensemble at Youngstown (OH) State University performed a number of his compositions. I feel very privileged to have known him and to have been considered one of his friends. Carolyn Peskin

www.AmericanRecorder.org September 2009 9 Happy Birthday, ARS! The 70-year-old Organization celebrates in Style with a Festival and Conference he ARS celebrated its 70th birth- Instruments Tday with its second Festival and In Wide Bore, Narrow Bore, Straight Conference, held July 30-August 2 Bore, Good Bore, Bad Bore, Perhaps I’m on the University of Missouri– a Bore, and the Recorder: The Difference St. Louis campus. The 96 participants between Renaissance and Baroque were greeted with unseasonably cool Recorders, recorder maker Jeff Holt weather, and a warm welcome from was anything but boring as he gave a locals who shuttled them from the air- Powerpoint presentation starting with a port to campus or gave them directions slide of a Medieval recorder found in on taking the easily-used MetroLink. 1940 in the refuse in a moat in After checking in, catching up Dordrecht, The Netherlands. The with old ARS friends, and browsing recorder was about the size of a through the exhibition, many attended sopranino, in one piece and almost the ARS annual meeting (see report in completely intact. Makers have studied this issue’s ARS Newsletter), where this one and others—found in Got- they met the entire ARS Board. ARS tingen (1987), Essengen (2002), President Lisette Kielson conducted Elbag, Poland, and Tartu, Estonia the evening: first the annual meeting, (2006)— of similar designs, but none then the All-Festival Orchestra playing in good condition, understandably. The Gift of Gab: The Music of Andrea Renaissance recorders have a and Giovanni Gabrieli. The Provincial conical wide bore and are often choked House Museum Room was filled with at the bottom, which lowers the pitch. the sonorities of soprano to great bass. Pitch at that time varied widely, so Starting the next morning with a recorders were often ordered from the Bend and Stretch warm-up (led each maker in matching sets of various day by Mary Johnson), attenders sizes. Renaissance recorders are embarked on nearly three full days of ensemble instruments, while in the sessions. Baroque the recorder often became a solo instrument. Moving from Medieval and Renaissance examples to transitional and Baroque Recorders, Holt touched on a few builders: Jan Van Heerde, who built Renaissance and Baroque recorders; in Copenhagen, Rosen- borg’s Narwhal tusk recorder; Richard Haka, who moved from England to Holland and built narrow conical- bored recorders with a choke in the foot joint, typical of Baroque recorders. Photo: Michael Zumoff. More at http://winkoff.com/ARS.pdf. Denner and Oberlander were well- The rather large file should open after downloading into your known German builders. Woods used were boxwood, ivory, browser. An arrow navigation tool may appear, or photos may plum and maple. be viewed by scrolling through the pages with the mouse wheel.

10 September 2009 American Recorder ARS President Lisette Kielson (l) greets conference participants during the ARS annual meeting, before leading the All-Festival Orchestra (below).

Photo above: Bill Long

Matt Ross creates a choke bore as Alan Kolderie plays a “recorder” that Jeff Holt brought to his sessions. Photo: Richard Spittel. In the next session, Holt continued with Recorder Building: Discover what it takes to make a Recorder from Wood Selection to Final Result. In case any of those attending had ideas about making recorders, Holt pointed out that first a maker has to make most of the tools (hand or machine) used to make a recorder; nothing is bought off Another session dealing with instrument. If you use boiled linseed the shelf. Since almost none of the sur- instruments was the popular Recorder oil, add myrrh and tea tree oil to battle faces of a recorder are straight—like a Maintenance, given twice by To m mildew. He advocates popping out the machine cuts—rounded, elliptical or Prescott (below). His useful handout block before oiling, which should be step shapes are created using much was full of practical tips, which were done from the block line down (avoid geometry and constant adjustments. supplemented by his comments—such the block chamber and head). Oil Trips to museums to take labori- as using almond oil (which doesn’t inside and out, and also oil the beak. ous measurements—in fractions of a harden) if you don’t know a maker’s He demonstrated how to remove and millimeter, inside and out—allow recommendations about oiling an clean the block from a bass recorder, makers to copy historical instruments. and how to oil. Another tip: wipe off oil Many museums ask the maker to share with cheap tissue, such as that sold at a the resulting plans (for instance, those discount store; it will not leave lint. of recorders in the Dayton C. Miller collection of the Library of Congress, Teaching Children which Holt measured) to avoid Playing jazz first thing in the morning, possible damage to these fragile relics. on the first day of a conference, isn’t Holt ended with a time-lapse that easy—but Jim Tinter made it “movie” compressing the steps to make sound easy in Teaching Jazz to Children. a recorder. He then passed around that Tinter presented multimedia materials instrument, along with other instru- suitable for use with students as young ment parts, tools and wood samples. as elementary school. Sound wafted

www.AmericanRecorder.org September 2009 11 Annette Bauer Orff- read, Suzuki students learn to make (r, below) Schulwerk: music before they are introduced to listens for “Let the musical notation. Waldo touched upon a cuckoo children be the key ideas of the Suzuki method, with Leslie their own which piqued the interest of the Timmons, composers.” participants to explore it further. In silence, before the she panto- group searched Percussion and Recorders mimed to Several special sessions focused on the forest for the adults percussion and recorder, including cuckoos. assembled Flutes and Drums Around the World, that they which Nina Stern uses in music should classrooms in New York City, NY. repeat her motions with recorders. Embracing musical traditions from Her non-verbal communications around the world and from many directed her “students” to explore centuries, Stern’s Recorders Without sounds on the recorder by echoing and Borders publications combine ethnic by playing call-and-response style. selections played on soprano recorders, Explaining that a bird not found in the with simple percussion such as hand U.S. lives in her native Germany, she drums for accompanying. downstairs as participants played his encouraged a group improvisation Stern introduces three-part creative jazz treatments of simple (with movement) on tone sets she ensemble work early (even in melodies (Hot Cross Buns, Merrily We called the “C-A cuckoo” and kindergarten—with shakers, drums, Roll Along, Jingle Bells) in various styles “G-E cuckoo.” triangle) to get children with little —swing, gospel and boogie woogie. Why do Suzuki recorder students musical background to communicate. In his materials, Tinter combined have such a beautiful sound? Curiosity Teaching is by rote; the hardest part the Jamey Abersold jazz approach is what brought many to Suzuki about learning new rhythms is with Orff-Schulwerk pedagogy, in Method for the Recorder: In the Studio listening, not playing. what he calls “Aberorff.” A participant and the Classroom presented by For inexpensive hand drums, leaving the session commented that Mary Halverson Waldo. Many such as Renaissance consorts might Tinter’s one session gave her more are familiar with the Suzuki method use, she recommends one with a materials that she can actually use than with respect to string instruments, plastic head by Remo that is about any workshop she had ever attended. but recorder is a different story. $12; another one, the Remo Glen Even though his Jazz Recorder Waldo showed videos of Suzuki Velez, goes for $40. Jam Session, had only a handful of recorder students performing in participants, Tinter provided more a recital (which could also be elaborate and essential multimedia viewed in the exhibition). It may be morning, but it’s ideas. He played simple three-note Though there was a large time for jazz with Jim Tinter. jazz licks, which all copied—then he range of age and level of made the phrases more complex and musical difficulty, each student challenged each participant to create performed with a beautiful a unique version on provided chords. tone and from memory. While everyone got into the style and In Suzuki, which is also created some quite acceptable improvi- referred to as The Mother sations, having more players to add Tongue Method, students their thoughts would have enriched learn music using the same this musical experience for everyone. process that children use to In Teaching Improvisation to acquire language: listening and Children: An Orff Approach, Annette imitation. Just as a child learns Bauer used one of the principles of the to speak before learning to

12 September 2009 American Recorder Delving farther into playing hand Repertoire and drums, Peter Maund offered two Technique packed sessions of Incorporating Another mealtime delight Percussion into Your Ensemble. For the found Judith Linsenberg participant hoping for something playing Bach’s third ’cello suite. useful to take back to a consort, this To prepare, she asked the session provided practical information. audience to “suspend its dis- Maund explained the different belief ” regarding the low notes kinds of hand/frame drums and that are possible on ’cello but demonstrated the four basic strokes— not on recorder. Her clean artic- doum, a low resonant sound; tek, a high ulation on the suite’s Bourrées sound made by flicking the head with was sprightly and spirited, a finger; ka, like tek, but produced by a A particular treat was a dinner- waking up the post-lunch crowd. finger of the hand holding the drum; time concert by Stern and Maund Later, in Bach’s Wood: Pruning the and slap, pads of all fingers of one (above), Wanderings: Chants, Songs, and Bach Cello Suites for Recorder, Linsen- hand in the middle of the head. (To Dances from Medieval Italy to Armenia, berg described some of the musical find more information about hand the Balkans, and the Middle East. The decisions to be made when arranging a drum technique, Google “Arabic duo offered a varied program, from piece for recorder. Considerations in modes.”) He gave all participants an contemplative selections to dances adapting ’cello music include range, opportunity to try each stroke, then with shifting rhythmic emphasis and breathing, doublestops and expression. divided the room into parts to play a many melodic note bends—actual The performer must accept that the multi-layered traditional drumming application of the ideas in each of their result won’t be the same, and make the pattern. He also demonstrated, and sessions. Absolutely riveting was the most of such strengths as high notes had the participants try, various jingles 14th-century Tre Fontane, in which the (perhaps substituting alternative and rattles that can be used in tambourine mimicked the recorder’s fingerings in places where a different Renaissance music. energetic 16th-note runs. timbre is needed, for drama). In the Provincial Transpose whole phrases even House Museum Room: when only one note goes out of range, for a more musical effect. (Bach did Judy Linsenberg (r) this with his own music, as he traveled after playing Bach’s from town to town and encountered third ’cello suite. local organs tuned to a pitch different She asked that the from that of his regular organ.) To audience “suspend its switch octaves, look for cadences and disbelief” regarding breathing spots, then make the move. the low notes that are Don’t attempt to play every note possible on ’cello of every chord (as in doublestops), but but not on recorder. instead prune out less important ones. Teaching Baroque Ornamentation was covered in a session by Frances On hearing a participant Blaker, who presented two types of comment that her mind ornamentation in Baroque music: free was too full, Frances ornamentation, with improvised orna- Blaker (l, with Louise ments usually connecting notes; and what Quantz called the “essential Austin) explained that graces.” The latter includes ornaments the old information gets on a single note: trill, mordent, appog- smashed down and the giatura or grace note, and turn. new stuff comes in on top, There are expectations about the all fluffy. Photo: Bill Long. “essential” ornaments: for instance,

www.AmericanRecorder.org September 2009 13 trills must occur at cadences, and may dynamic control. For long phrases, be used in other spots in a phrase. It’s not the size of plan breathing according to the Ornaments used less often are the your lungs that phrase—take only the amount of air appoggiatura (in which the upper or you need for the next phrase. lower neighbor—the appoggiatura matters, but In addition, she stressed ear note—falls on the beat 90% of the how you use them. training: listening to all sounds around time) and the mordent, then the turn. you, to your own recorder sound, and Participants looked at free orna- Breath to make your Music live. It’s not to other players, live and recorded. ments written out in William Babell’s the size of your lungs that matters, but Lisette Kielson’s session, Fear of Sonata I, and also examined a piece how you use them. She emphasized Heights? Playing in the High Register by Michel Lambert for use of good breathing, a sense of sound and with Beautiful Tone, also dealt with flow “essentials.” Good taste (Bon Gout) the will to play beautifully. of air, plus thumb technique, angle of should always dictate placement and She demonstrated practical exer- the hand, and air in the cheeks. She interpretation of Baroque ornaments. cises for various types of breathing asked players to place elbows in a Blaker also presented the basics of (low breathing, rib breathing, full “circular” position while playing notes, good tone production and breath breath), to teach how to inhale well and to observe the position of hand and control in The Breath of Life: Using your and blow economically, and others for thumb. Look for cheek looseness, the Scenes seen in the Exhibition (clockwise, from r): Rosi Terada plays an instrument at Unicorn Music, where proprietor Charles Fischer tries another recorder; Weezie Smith sets up the silent auction, which raised over $1000; a pickup quartet testdrives selections from Honeysuckle Music (owned by Jean Allison Olson, l; with Susan Richter, Alan Kolderie and Laura Sanborn– Kuhlman); Michael Zumoff and Jane Boyden visit with Marilyn Perlmutter at the ARS booth; Louise Carslake with Richie and Elaine Henzler of Courtly Music; Tish Berlin poses with maker Jeff Holt.

14 September 2009 American Recorder amount of space open on the thumb- group, playing Jacques Arcadelt’s hole, and ease of blowing. Participants familiar madrigal, Il bianco e dolce cigno. did this on alto, starting at about The piece is well suited to the high g and going up to the highest f. Renaissance recorder’s limited Kielson uses a number system to range of about an octave plus a sixth. find where sound is the most beautiful. Because Renaissance recorders’ Number one is no sound, moving to low notes are more stable than those of five, which is screeching. A player Baroque recorders, they can be blown increases intensity until recognizing with greater breath pressure than is the place where the note sounds the possible with Baroque instruments. best, making note of blowing, Therefore, Renaissance recorders have breathing and tone. a stronger low register, and their Teaching Articulation and Phrasing timbre and volume are quite uniform was presented by Tish Berlin, past throughout the instrument’s range. president of the ARS and conference Low notes can also be tongued organizer, in her usual well-organized more strongly than on Baroque way. A handout she provided had recorders. A little experimenting with historical references, including breath pressure and tonguing strength Hotteterre, Quantz and Ganassi. It produced a pleasing sound. also covered current method books Since Renaissance recorders that include articulation exercises for crafted by different makers may have the recorder, by authors including somewhat different fingerings, Berlin Frances Blaker, Walter van Hauwe, did not provide a fingering chart. Gudrun Heyens, Wolfram Waechter Rather, she highlighted a few notes and Aldo Abreu. whose fingerings might differ from Having discussed the value of the those used on Baroque recorders. various methods, the group did articu- She also showed how to effect lation exercises: first with strong and changes in dynamics while playing the weak tonguing, tu-du; and then with madrigal by altering the shape of the more complex double and triple oral cavity. A large, round oral cavity, tonguing, trying edited it or diggety dog as in pronouncing long “O,” produces to (un)scramble your tongue! Basic a relatively full sound, while a smaller Lost in Time Press rules Berlin gave were: one, as in pronouncing long “E,” ·Use “t” to start something new, results in a softer, thinner tone. New works and for repeated notes and for leaps. arrangements ·Use “d” for step-wise melodic Basics and More for recorder ensemble motion (legato-style). Despite the title, Louise Carslake’s · Sing a phrase without thinking First Lesson for Adults contained Compositions by about articulation syllables. After information that every recorder player Frances Blaker listening to your own interpreta- can use—more along the lines of Paul Ashford tion, try to achieve the same effect “Getting Back to Basics.” After Hendrik de Regt with articulation syllables. discussing fundamentals like holding and others In Moving to A Whole Different the recorder without feeling like you’re Instrument: Issues of the Renaissance going to drop it; teaching breathing Inquiries: Recorder, Including Fingering, Blowing, (before articulation!); helping students Corlu Collier and Articulation, Berlin discussed develop a variety of articulations; hand PMB 309 Renaissance recorder technique. position (about which every player 2226 N Coast Hwy Participants who had not previously should consciously think); and other Newport, Oregon 97365 played Renaissance recorders bor- musical concerns, she moved to ideas www.lostintimepress.com [email protected] rowed instruments from others in the unique to teaching adults.

www.AmericanRecorder.org September 2009 15 and elaborated on them. Such activi- pitch go up with increased breath and Many teachers think ties can serve to wean us from reliance down with less breath, settling back to they are teaching the on the printed notes, and allow us to “normal” before passing it on. This branch out and produce our own helps develop pitch memory. recorder, but they’re material to help improve skills. Timmons used a pentatonic actually teaching people The title of Ensemble 101: Japanese folk song, Firefly, to develop Repertoire and Rehearsal Techniques for group rhythm. It also helps build each to play the recorder: Beginning to Intermediate Ensembles was individual’s confidence in playing in a two different ideas! somewhat misleading: while the tech- large group: the melody only uses four niques demonstrated by Timmons are notes and is easy to memorize. It can The teacher or coach may need to very useful for less-experienced be played as a round at one beat, at two fulfill other roles: counselor, cheer- ensembles, many of them can be taken beats, at three beats, at the measure, at leader, task master, moral supporter, home to use in advanced ensembles. two measures, etc. Ostinato accompa- etc. Many teachers think they are Topics included pitch awareness niments (which can be played by less teaching the recorder, but they’re and matching, building group experienced players so that they can actually teaching people to play the rhythmic consensus, developing fully participate) and percussion recorder: two different ideas! individual confidence in playing in a can be added for variety. In Introduction to Improvisation for large group, adapting music to Similar transformations were also Adults, Leslie Timmons first men- accommodate novice players, and done on the Israeli round Shalom tioned the self-study program available creating a four-minute performance Chaverim, then on an arrangement of to ARS members online. The session piece using a 20-second tune. Gervaise’s Bransle de Champagne for was memorable in that Timmons got One pitch awareness/matching recorder trio (SAT) and piano. The all the participants actively involved, exercise was to pass a pitch around the group discussed alterations to make it aurally and kinesthetically, in using room—each player playing the same playable by a quartet, plus ways to exercises as a basis for improvisation. note in turn, trying to match the orchestrate it into a longer piece by Starting with scales and arpeg- previous person’s pitch. Then every- adding instruments, adding drum and gios, the group gradually expanded one experimented with making the finger cymbals, creating an introduc- tion, and making some of the inner ARS Festival and Conference Presenters and Organizers. parts easier for less experienced players. These creative modifications can easily lengthen a short piece into a four-minute piece for performance. Taking this idea another step, in Developing Technique through Ensemble Playing, Cléa Galhano covered how to look at a score and be able to make intelligent decisions about how the group should perform it. Topics included: articulation, phrasing, tuning, which parts would need the most practice time, helping inexperi- enced players navigate pieces that they may think are too difficult, decision- making and concensus-building within the rehearsal setting, and balance. A last “how to” session, Creating Successful Programs for Your Consort, encouraged us to learn from mistakes. Veteran recorder teacher and coach

16 September 2009 American Recorder Louise Austin has a veritable encyclo- purpose, setting long-term goals, and formed on the basis of repertoire you pedia of information about how to identifying a target audience. The love or people who are “right” to play make an effective concert program. most important element in design and with. Professionals pointed out that Her well-organized formal presenta- construction is content, placing impor- they play in many groups just to sur- tion covered the headings of practice, tant information near the top. Style is vive, and may have to decide which pacing and performance. Some things important because the site must be group to put first so that rehearsals can mentioned were obvious, such as appealing to users. Flashing colors, occur regularly enough to create scheduling enough rehearsal time. large text, and busy backgrounds that chemistry among the performers. Particularly pertinent ideas offered interfere with legibility should be For a collegium, an idea is to con- by Austin were: avoided in favor of white space. coct a “town and gown” affair where a · Planning and pacing on a pro- Besides the concurrent sessions few university or community school gram should take into considera- during the day, shorter roundtables students, faculty/staff and community tion variety in tempo, period, key, were held after dinner both nights. musicians converge. This can also time signature, instrumentation, On the first evening, a dozen gathered unearth a knowledgeable layperson to etc., in successive pieces. to share ideas about Challenges Facing advise sections of the group (for · Include only pieces the group Teachers, led by Mary Halverson instance, historical reeds), supple- is comfortable and secure in Waldo and Leslie Timmons. One menting a conductor’s knowledge. performing. idea to help keep children engaged · Start and end with “knockout” is that some may respond better to Master Classes pieces. playing lower instruments (rather Completed in 1916, the Provincial Etiquette in presentation, an area than soprano recorders) or percussion. House’s Norman Gothic chapel has a often overlooked by amateur groups, Down the hall, another group vaulted ceiling, white marble floors, drew attention to stage presence— listened to Frances Blaker and and towering stained glass windows. including avoiding visual distractions, Augusta (GA) State University voice Site of the festival’s master classes and acknowledging applause gracefully, professor Linda Banister find evening concerts, the space is warmly locating instruments conveniently, commonalities in How Singers and resonant and architecturally and looking happy and confident. Recorder Players Breathe. Banister gave interesting—apt for early music. Lively interaction characterized pithy advice: make your inhale Two harpsichords were available, this very informative session. All eight efficient and your exhale extended. at low and high pitch. Soloists lacking participants were involved in some A Saturday roundtable—Leading their own accompanists had the expert kind of consort, and made comments a Group: Recorder Orchestras, Collegia, services of Adam Pearl of Peabody about their concerts. Austin humor- Consorts—covered territory relevant to Conservatory, who had performed ously suggested what they could have anyone who does not want to play the evening before with Marion done to tweak a program, to make it alone. Groups of any kind can be Verbruggen. more engaging for the audience. As a possible “how to” Coda for groups, graphic designer Joyce Callanan gave helpful guidelines in Developing a Web site. With the aid of an outline projected on a screen, the developer of the current ARS web site Honeysuckle Music discussed five categories: planning and conceptualization, design and con- Recorders & accessories struction, domain name registration, ... hosting, and promotion. She provided Music for recorders & viols participants with a glossary of terms Jean Allison Olson and a web development worksheet. 1604 Portland Ave. The first two categories were dis- St. Paul, MN 55104 cussed in detail. The plan for a web 651.644.8545 site begins by deciding on its overall [email protected]

www.AmericanRecorder.org September 2009 17 Two participants chose move- the notated rhythms. The trick was to A minor trio sonata for recorder, bas- ments of Baroque solo sonatas. Peter make the carefully composed music soon and continuo. Pearl managed to Faber played the first movement of sound spontaneous, even improvised. simultaneously play the continuo and Barsanti’s Sonata II in C Major— Vivaldi compositions originally bassoon solo parts on the harpsichord. notable for its elaborate, written-out scored for larger ensembles were Siegel performed the first movement “improvisations.” Kathy Cochran played by two participants. Since of Vivaldi’s dazzlingly difficult Con- played Sammartini’s Sonata III in G Vivaldi was a lifelong teacher of nun- certo in C minor. Both pieces featured Major for traversa. She gained points musicians, the venue (a chapel for a Vivaldi’s notorious passagework— by playing from a facsimile —and on former convent) seemed particularly violinistic passages that can be extra- voice flute, that traversa-doppelgänger well-suited. In fact, master class player ordinarily difficult on wind instru- with its attendant transposition com- Rachel Siegel is about the age of ments. Verbruggen suggested using plications. In both cases, Verbruggen the young women for whom Vivaldi articulation to make those passages explored with the students ways of originally wrote works during his years easier (or at least possible) and thus making the music sound more relaxed of teaching at a Venice convent school. less mechanical. She also gave permis- and natural through use of phrasing, Robert Shlaer played the sion to leave out an occasional 16th articulation, and subtle loosening of opening two movements of Vivaldi’s note to breathe—forgiveness for short-winded players, in a perfect The master class with Marion venue for absolution. Verbruggen: Peter Faber (l) Two very different ensembles and Robert Shlaer (below). played in the master class. A recorder trio, The Troubadors—Dave Fischer, Charles Vreeland and Rick Johnson—played a brief contempo- rary piece written by John Kills in 1987. Verbruggen suggested ways to vary texture, especially by getting more sound from the instruments and achieving the effect of dynamics with alternative fingerings . The other ensemble, The Ecchoing Air—Bethany Barr, soprano; Charles Mullen and Johanna Erdman, recorders; and Bill Long, harpsichord—played Looking “Since the Toils and Hazards of War,” down the an aria from Purcell’s Dioclesian. The aisle as recorders here serve primarily as Kathy accompaniment instruments, along Cochran with the harpsichord. Their job is to plays for help the singer tell the story; Verbrug- Marion gen suggested that, in the introductory Verbruggen symphony, recorders and harpsichord in the work on dynamic changes, through chapel. note duration and chord voicing. She Master class and Barr discussed modern and his- photos and torical voice production, especially the use of vibrato to ornament early music. Farallon Throughout the day, Verbruggen photo (r): maintained an easy rapport with the Bill Long. performers and a gentle sense of humor. 18 September 2009 American Recorder A shorter master class was also The Saturday night fare was Marion Verbruggen (r) offered for intermediate soloists or Farallon—Annette Bauer, Letitia after her concert, talking ensembles, with Cléa Galhano coach- Berlin, Frances Blaker and Louise with Judy Linsenberg. ing three performers. The first piece Carslake (below). The quartet maneu- heard was a Lachrymae by Van Eyck, vered nimbly through the two halves with its variations. Galhano helped the of the program, each half progressing performer to try holding the instru- time-wise from the 14th century to a ment and her head in different posi- work by a living composer. tions for best effect—all could hear A Bauer/Berlin arrangement of an immediate difference. Petrone from the Robertsbridge Codex of A Loeillet sonata’s slow move- 1360 opened the second half, its open ment, played next on alto recorder, harmonies and parallel fifths requiring gave opportunities to vary articulation crystalline intonation. The closing and ornamentation. The third partici- work perhaps encapsulated Farallon’s pant played a quartet, so volunteers programming philosophy, being a played the other parts. Here Galhano modern work based on a chanson by separate pieces using the same theme, pointed out that, in a fugue, the person Machaut: Matthias Maute’s Les fleurs treated in different ways, Berlin sug- who plays the theme first has “power.” dissapées. After the melody was intoned gested techniques to help a large group Others should imitate the interpreta- in sonorous octaves, staggered entries get in tune: make the sound meet in tion of the theme with their own built into complex harmonies and then the middle of the room; tune by instruments. back to fragments—a process that alternating the notes d and a; play repeated before pushing to a snappy only the first note of each measure. Galhano pointed out ragtime section. A “Glenn Miller” With a Baroque recorder, she swell ended the program well. pointed out that, the lower you go, the that, in a fugue, the slower the air stream will be in order to have good sound —a warm, broad air person who plays the The Sociable Recorder: stream. You should have the image of theme first has “power.” Playing in Consorts how much air your size of recorder Opportunities to play in coached wants and blow that much air. Stop the consorts abounded during the festival Evening Performances sound by opening your mouth rather schedule, and were enthusiastically An important facet of any music than using your tongue; this makes the attended by participants, who enjoyed festival is inspiring performances, and note more resonant. being able to work under a number of this one did not disappoint in its two Celebrating Handel: The year conductors with different styles. A evening concerts played beneath the 2009 marks the 250th anniversary of representative sampling of musical buttresses of Provincial Chapel. Handel’s death. The Festival honored topics includes the following. During Marion Verbruggen’s the event by devoting two sessions to Bach’s Art of Fugue: 21 partici- Friday evening program of crowd- Handel’s music. Louise Austin pants worked on Tish Berlin’s own pleasers—by such composers as Bach, conducted a challenging session, arrangements of Contrapunctus #1 Handel, Corelli and Telemann—her starting with an SATB version of and #5. After noting that there are 19 relaxed rapport with harpsichordist the overture to Rodrigo, Handel’s Adam Pearl was evident throughout. earliest Italian opera. The From the first familiar notes of work is really a suite Handel’s Sonata in C Major, Op. 1, No. consisting of a typical 7, she played with her usual disarming Baroque French overture ease and panache. She even seemed and a subsequent series of to transform herself into different sprightly dances. Lisette characters—martial, playful, jovial— Kielson’s Handel session while performing the variations of comprised The Water Music, Marian Marais’s Les Folies d’Espagne. which seemed appropriate The enthusiastic crowd demanded since it rained during that three bows and an encore. session. The music came

www.AmericanRecorder.org September 2009 19 alive as phrases were shaped by motets. The participants played a a six-bar ground bass. Her Patterns, for breathing and as Kielson suggested particularly beautiful unbarred motet SATB recorders, is in quasi-minimalist articulations to use. by Martin de Rivafrecha (d. 1528). style that builds on repeating one-bar Medieval Repertoire: Annette This music often employs parallel melodic patterns. The third selection, Bauer, who studied Medieval music fifths and fourths, which was frowned an example of avant-garde writing, was at the Schola Cantorum Basiliensis in upon in the later Renaissance. part of a nine-movement work entitled Switzerland, chose four pieces repre- Let’s Swing! Tin Pan Alley Farben (Colors) by Matthias Maute. senting different styles of vocal music Favorites: Judy Linsenberg pulled The chosen movement, scored SATB, of the 13th to early-15th centuries. Two out old favorites from the 20th century employs multiphonics (i.e., two notes were prayers to the Virgin Mary: Stella —Button Up Your Overcoat, Singin’ in sounding at once), trills and tremolos. celi (Star of Heaven), found in the Old the Rain, and Ain’t She Sweet. Some Hall Manuscript, an early 15th-century players were old enough to remember Awards and Closing English homophonic piece played on the songs, but needed to be reminded At an afternoon reception, complete ATT recorders; and Mariam Matrem, of the style and how to make them with delectable munchies, the ARS from Llibre Vermell (late 14th-century work on recorder. The 30 players got gave its Presidential Special Honor Spanish), an ATB dance with repeated into the “swing” style fairly well by Award to two worthy recipients: phrases and a bouncy, syncopated following Linsenberg’s advice for Corlu Collier and the Oregon melody in the top voice. From 13th- articulation and interpretation. Coast Recorder Society (OCRS). century France, the group played a Popular and World Music: Much of Collier’s adult life has motet Trop souvent/ Brunete/In seculum Cléa Galhano’s effervescent approach been spent in fostering the recorder from the Bamberg Codex; its two inter- helped the group with style and the in groups from Seattle, WA, to San twining upper lines have French unusual rhythms in mostly unfamiliar Francisco, CA. With her vision of secular texts and the bottom line has a music from Israel, Brazil and Ireland. enriching the musical lives of many, two-word Latin plainchant text. The Contemporary Music for she has patiently guided the OCRS in only SATB selection was a Kyrie from Recorder Ensemble: Frances its weekly meetings for 25 years. Her the Messe de Notre Dame by Machaut Blaker, whose talents include com- more recent activities have culminated (14th-century French). Its outstanding posing, brought three pieces in three in Lost in Time Press, which publishes features are isorhythm (i.e., repeating different contemporary music styles. contemporary works for recorder. rhythmic patterns) in the lower two To show conservative style based upon The OCRS, represented at the voices, and the use of hocket (i.e., early music genres, she chose her own Festival by Jane Boyden, a dozen melody cut up by rests) in the top. In Sight of the Ocean. It was commis- years ago started its Winds and Waves The Spanish Renaissance sioned by the Oregon Coast Recorder Workshop. The workshop soon moved Motet: There was a great deal of Society in honor of their director, Corlu to the scenic Sitka Center for Art and interest in this class—26 attended! Collier. The unifying element in this Ecology, where artists are provided Mark Davenport unveiled his as-yet- intriguing work, for SAATB recorders with residency space and other unpublished arrangements of Spanish and bass gamba/contra bass recorder, is assistance. OCRS raised funds to start an Representatives of chapters in existence for 20 years or longer. annual recorder residency at Sitka. The first recorder residents arrived in 2003, and subsequent recorder residents have come from all over the world. In 2005, the ARS Board raised funds to offer a professional development grant geared to further support the Sitka recorder residency. OCRS seeded the fund, which now provides $600 to help offset living costs. A highlight of the ceremony was the playing by an ensemble of Festival presenters of a new piece composed by

20 September 2009 American Recorder Order your recorder discs through the ARS CD Club!

The ARS CD Club makes hard-to-find or limited release Jane Boyden (l) CDs by ARS members available to ARS members at the special price listed. All CDs are $15 ARS members/ and Corlu Collier. $17 Others unless marked otherwise. Two-CD sets are $24 ARS members/ $28 Others. Add Shipping and Handling: $2 for one CD, $1 for each additional CD. Frances Blaker and dedicated to An updated list of all available CDs may be found at: www.americanrecorder.org. Collier. Nearer to the festival’s end, other VIVA VIVALDI! (Partial listing) awards were presented to participants ____LES AMIS DU BAROQUE Paul Nauta, recorder & Baroque flute; Koen Dieltiens, recorder. Highlight Intl. representing chapters that have been ____FIRE BENEATH MY FINGERS in existence for 20 years or longer. Judith Linsenberg, recorder; Musica Pacifica. Showcases three legendary composers At least one chapter had located its who were also virtuoso performers. Dorian. ____GLORIA! VIVALDI'S ANGELS original charter certificate from the Ensemble Caprice. Gloria in D major, RV589, for choir and orchestra, other. Analekta. ARS! (Any chapter that finds its ____HANDEL: THE ITALIAN YEARS original charter, which may have been Elissa Berardi, recorder & Baroque flute; Philomel Baroque Orchestra. Telemann, Trio in F; Vivaldi, All'ombra di sospetto. Dorian. misplaced over the years as chapter ____PARTY OF FIVE: A FEAST OF VIVALDI AND TELEMANN leadership shifted, may send it for Cléa Galhano, recorder; Blue Baroque Band. Old sounds of recorder & harpsichord safekeeping in the Recorder Music juxtaposed with modern oboe, bassoon & violin. Vivaldi: Concerto in DM, RV94; Concerto in gm, RV107; Concerto in gm, RV103.Ten Thousand Lakes, 2006. Center at Regis University in Colo- ____PRIEST ON THE RUN rado, where ARS and other recorder- Red Priest; Piers Adams, recorders. Concerti composed by the group's namesake, flame-haired Vivaldi. Upbeat. related documents are archived.) ____VIVALDI AND THE BAROQUE GYPSIES As the festival drew to a close and Matthias Maute & Sophie Larivière, recorders; Ensemble Caprice. Gypsy music taken people began their journeys home, the from Uhrovska zbierka (now Slovakia), plus Vivaldi. All-Festival Orchestra ____VIVALDI: THE FOUR SEASONS assembled for Red Priest: Piers Adams, recorders; "If you think you know the Seasons, if you've heard a last “hallelujah”—literally, as Lisette it (or played it) far too often to ever want to hear it again—go straight out and buy this Kielson led Handel’s celebratory recording.—Early Music Today. Red Priest, 2005; re-release of 2003 Dorian recording. ____VIVALDI: LA NOTTE chorus from Messiah. Judith Linsenberg, recorder; Musica Pacifica. Award-winning CD, featuring five Vivaldi concerti, two sonatas. While it was not possible to cover ____VIVALDI: SHADES OF RED Matthias Maute, recorders; REBEL. Stylish, high octane readings. Bridge. every session, this overview provides a reasonably full picture for those who could Please indicate above the CDs you wish to order, and print clearly the following: not attend. AR gratefully acknowledges the contributors to this coverage, who Name:______Daytime phone: (____) ______Address: ______City/State/Zip:______agreed to share their experiences with other Check enclosed for members—and, because of the timing of the _____ single CDs x $____ = $______conference, to write them up very quickly: _____ 2-CD sets x $____ = $______TOTAL $______Donna Basile, William Long, Marilyn Please charge the above amount to my MasterCard, Visa or AmEx: Perlmutter, Carolyn Peskin, Bill Rees, #______Exp. Date: ______Cardholder’s signature:______Eileen Rees, Richard Spittel, Rosi Terada Order CDs using PayPal at www.americanrecorder.org/order/cdroms.htm. and Gus Winter. Photos are by Gail Nickless unless otherwise credited. Mail to: ARS, 1129 Ruth Dr., St. Louis, MO 63122-1019 U.S. Fax a credit card order to 314-966-4649.

www.AmericanRecorder.org September 2009 21 The 2009 Boston Early Music Festival The economy kept some people away from the TUESDAY, JUNE 9 liberate her people. The text, from a 2009 Boston Early Music Festival A mid-day question was asked by 16th-century Croation priest-peasant’s (BEMF)—held June 7-14 in Boston, Travessada (Peter H. Bloom, Eric story of Judith, is also inspired by MA—but constraints felt by many perform- Haas, Na’ama Lion and David F. Place, Medieval Croation agonies—inner ing arts organizations were not obvious when play-ing a matched set of Renaissance dialogues of the two characters. looking at BEMF offerings for recorder transverse flutes); “Who is she?” The The theatre piece began as a fiddler enthusiasts. While there were too many answer was in motets on poems from appeared on stage, improvising music events of interest to recorder players to cover the Song of Songs, by Isaac, Dunstable, that sounded at times Middle Eastern, them in depth, here are daily highlights. Guerrero, and others. modern and Medieval. He was joined Harmonious Blacksmith by Norbert Rodenkirchen, playing MONDAY, JUNE 8 was founded by harpsichordist Joseph a Medieval flute; they improvised On a clear, still afternoon, two concerts Gascho in 2006 and includes recorderist together before the entrance of the vied for early BEMF arrivers. At First Justin Godoy. “Phantasticke Spirites” remarkable director/singer/actress Church in Boston, notable for its mas- comprised vocal and instrumental selec- Katerina Livljanic, who by herself sive, angular spaces with great acoustics, tions such as the opening When Daphne sang and acted the entire story. Callisto Ascending (Katharine Daine, Did Flie, where soprano recorder and The performance was mesmerizing soprano; Laurie Rubin, mezzo-soprano; voice complemented beautifully. In a set and dramatic. Livljanic’s movements Jessica Powell, viola da gamba; Jeffrey of Battles by John Bull/Byrd/Van Eyck/ complemented her singing, so that action Grossman, harpsichord; with guests Janequin, arranged by the performers, was clear even without supertitles. For Anna Griffis, violin; and Rachel Begley, skirmishes among the instruments many, the most powerful part was the bassoon) did more than justice to two added to the program’s variety. dialogues at the end, but a startlingly cantatas each by Scarlatti and Telemann, In the late afternoon, in the intimate dramatic moment occurred when Judith  and Telemann’s Trio Sonata in B . Begley, chapel of Beacon Hill Friends House, a beheaded the fat and evil Holofernes. usually seen as a recorderist, demon- packed house consumed “A Brave Barrel Having been lulled into a trance by the strated her ample bassoon talents. of Oysters.” Seven Times Salt’s mostly unaccompanied song, audience In the same venue, the sunshine members—Karen Burciaga, violin; members jumped at that sudden act. through Hale Chapel’s contemporary Daniel Meyers, recorders, bagpipes; stained glass window was the backdrop Joshua Schreiber Shalem, bass viol; and WEDNESDAY, JUNE 10 for “Fire and Ice” by Frances Blaker, Matthew Wright, lute—were joined by Back-to-back early afternoon concerts by recorders; David Wilson, Baroque special guests Michael Barrett, tenor, Aliénor included first Edward Ferrell, violin; Barbara Blaker Krumdieck, recorder; Tracy Cowart, mezzo-soprano; playing Baroque flute and recorder with Baroque ’cello; and Henry Lebedinsky, and Kyle Parrish regaling the audience Carolina Pro Musica’s “Bach and harpsichord. Ensemble Vermillion as Samuel Pepys. Readings from Pepys’s Beyond.” Then, in “Bach to Rock,” played chamber music composed by diaries alternated with sets of dances, Na’ama Lion, Baroque flute, offered Purcell and contemporaries during the ballads and drinking songs. The Down- works by Robert Strizich. turbulent second half of the 17th century. fall of Dancing and A Glee to Bacchus were The BEMF 5 p.m. concert was the Ensemble members introduced the particularly well-received; the audience first of two by Ensemble Micrologus pieces in turn, interacting in a way that responded with a rousing “huzzah.” in “Amors, Amors—Landscapes of showed obvious enjoyment in working That evening, opposite one of sev- Love, Lost and Found, Quattrocento and playing together. The program’s eral BEMF stagings of Monteverdi’s Music from the Italian Courts.” conclusion—Purcell’s Sonata IX, The Poppea, Ensemble Dialogos offered Recorder players were awaiting the Golden Sonata—was a light, airy piece “Judith: A Biblical Story from Renais- 8 p.m. BEMF concert, “Consonancias: with virtuosic recorder playing, meeting sance Croatia.” Perhaps one of the most D’amours me plains.” Two very gifted with enthusiastic, well-deserved applause mysterious concerts of this year’s Festival performers—Paul Leenhouts, Ren- from a nearly full house. — and also one of the most moving and aissance recorders; and Gabriel Shuford, That evening, BEMF offered most unlike typical Renaissance music— harpsichord and organ—took a risk in Ensemble Zefiro in “The Winds of it used a lone singer and four Medieval presenting only embellished chansons the Serenissima: Music of dall’Abaco, instruments. It tells the story of the Bib- and madrigals of the 16th and 17th Vivaldi, Platti, Lotti, and Galuppi,” with lical heroine who seduced and beheaded centuries. By mixing orchestration oboes and bassoons the winds of the title. the enemy Holofernes in order to (recorder alone, harpsichord alone, the

22 September 2009 American Recorder instruments together, organ alone, etc.), between Saltarello and the concurrent and moods from playful to soulful, they They transformed what master class with Paul Leenhouts. transformed what could have been very could have been very The first player at this class was con- boring into something quite beautiful. servatory-level student Joe Lewnard, Leenhouts’s talents were every- boring into something a past recipient of the ARS President’s where, as an arranger, embellisher (his quite beautiful. Scholarship. He played the very compli- own diminutions), and player of five dif- cated Telemann Fantasia in C major—not ferent sizes of recorders, at times having Dressed in period costumes, the only playing it well, but with the flexibil- to transpose because of the fixed pitch of C.W. Post Madrigal Singers and ity to take direction well from Leen- the organ. The young keyboardist Shu- Merriweather Consort from Long houts, so observers got to hear different ford showed himself to be accomplished Island University entertained another possible ways to play the piece. A discus- and thoroughly professional, playing unfortunately small crowd. The program sion of interest was how to play echoes. with an ease matching that of Leenhouts. largely comprised alternating vocal and The easiest method is to turn around and Leenhouts’s solo playing with his instrumental works of Byrd, Tallis, Hol- play the echo phrase with the instrument own embellishments of a Ricercata by borne and Henry VIII. Joy in the Gates, pointing away from the audience. Aurelio Virgiliano reminded his audience also the program’s title, was heard as a The next performer was a com- (some of whom have heard him many soprano solo, then as a 16-part canon mitted amateur from Illinois named times) that besides being a virtuoso, he and, later, with audience participation, as James Heup, playing a Frescobaldi plays expressively, with a rich, creamy a three-part canon. Singers fanned out Canzona 4 (La Donatina) with his wife tone. The program’s title piece, D’amours around the audience to provide support. Ina at the harpsichord. Heup has played me plains—a mostly unfamiliar work by The Boston Recorder Quintet recorder for about 12 years, and has a less familiar composer, Bálint Bakfark, presented a mid-day eclectic program played in a number of master classes. after Rogier Pathie—was soulful and spanning seven centuries in the intimate Leenhouts made these points: moving as Leenhouts played it on bass Lindsay Chapel at Emmanuel Church. · The soprano recorder is an octave recorder with Shuford on harpsichord. Each member of this diverse group— higher than Frescobaldi had Héloïse Degrugillier, Roxanne Layton, envisioned the piece. Heup said he THURSDAY, JUNE 11 Judith Linsenberg, Roy Sansom and normally played it on tenor, but Lack of publicity—the morning Tom Zajac—brings unique style to the cited baggage concerns about Renaissonics concert did not appear ensemble. Together they delighted the bringing his tenor from Illinois. on any BEMF list—meant that only capacity crowd, which was treated to a · If a short piece like this were played eight people enjoyed a rollicking, yet tasteful performance of J.S. Bach’s Toc- in concert, three or four should be tasteful, performance by John Tyson, cata No. 6 arranged by Friedrich von played as a group. Heup often plays recorders, pipe and tabor; Laura Gulley, Huene, who was not only present but in church, where one is the right violin; Daniel Rowe, ’cello; and Miyuki had provided several recorders. length for a prelude or postlude. Tsurutani, harpsichord and recorder. The group’s easy congeniality The last player, Jean Burke from A favorite was the dancelike Furioso was evident as Glen Shannon’s jazzy Norfolk, MA, played a Loeillet sonata from Nobiltà di Dame by Fabritio Caroso, Bloomberg Codex gave ample opportunity movement. Leenhouts showed her how involving all the instruments (and to display individual talents. to practice breathing and long tones to inspiring purchases of Renaissonics’ CD The frenetic schedule continued improve her tone, and how to practice that includes this piece). This inaugural with a standing-room-only offering of the difficult finger passages (one sug- concert for the Renaissance Chamber Handel sonatas by Saltarello (Sarah gestion was to repeat a short section, Music Institute of the New England Cantor, recorders; Angus Lansing, even three or four notes, over and over). Conservatory of Music sent all away gamba; Andrus Madsen, harpsichord). The Newport Baroque mid- with dancing feet! Recorder enthusiasts had to choose afternoon concert was one of four at BEMF—this last by Héloïse Degrugil-

www.nicholaswww.nicholas---wynne.co.ukwynne.co.uk Original sheet music for recorders and a variety of other instruments. Instantly available as pdf downloads or as hard copies by post

www.AmericanRecorder.org September 2009 23 lier, recorder; Audrey Cienniwa, ’cello; While these three “young adults” asked some of his oldest friends to say a and Paul Cienniwa, harpsichord. Start- could hold their own in any professional few words. Wollitz then gave a gracious ing with Handel’s Sonata in F Major, the group, the playing of two brothers— speech, remembering “the early days” well-attuned trio played cleanly, letting David and Norman Kalen, aged 14 and speaking seriously about the future the music speak for itself. After a set of and 13—was astonishing. Since 2005, of the ARS. He reminded us that the pensive pieces that inspired meditation, they have studied with Aldo Abreu at the ARS was founded by amateurs and from a final Sonata in F Major, this Marcello’s New England Conservatory Preparatory the start had been a Society for amateurs. Op. 2, No. 12, was played with verve, School. The Kalens and Abreu flawlessly The busy Friday morning continued leaving the audience ready to tackle the played two difficult trios by John Bald- as the University of North Texas next event of this crowded Festival day. wine, Coockow and Browning. It would Baroque Orchestra and Collegi- The evening’s “A Grand Enter- have been hard to tell, if one couldn’t um Singers, under Lyle Nordstrom, tainment” by the BEMF Chamber see them, who was playing which part. offering extended settings of Psalms 51 Ensemble opened and closed respec- After listening to these extra- (Kuhnau) and 72 (Telemann), both tively with overtures by Johann Fasch talented players, we can be confident that single-movement works similar in style and Telemann—featuring three oboes the future of the recorder, even in the and form to multi-section Baroque and bassoon, whose playing was flawless. hands of the very young, is assured. concerti. The soloists were uniformly The short concert was followed good; choir and instrumentalists made FRIDAY, JUNE 12 by the presentation, to Ken Wollitz, the most of a limited sound palette. In a In “Music for the Palace of Sanssouci,” of the ARS Distinguished Achieve- Concerto alla Polonese by Telemann, the renowned Quantz scholar Mary Oles- ment Award. It was gratifying to see full orchestra used flutes and oboes. The kiewicz played a copy of a two-keyed some 30 of Wollitz’s friends and students conductorless group stayed together, traverso designed by Quantz, with at this event. Before Wollitz accepted the even during the fast and furious finale. Balázs Máté, ’cello, and David Schulen- award, ARS President Lisette Kielson berg, harpsichord. Offering music from the court of Frederick the Great of Ken Wollitz at the Distinguished Prussia, Oleskiewicz premiered three of Achievement Award ceremony (r). Frederick’s chamber sonatas (including “Next Generation” performers— the Sonata in F, showing influences from (l to r) Joe Lewnard, Ching Wei, Italian composers like Vivaldi while Mary Rocheleau, and David and revealing the king’s considerable compo- Norman Kalen. Photos: C. Kridel. sitional and flute-playing talents). Friday was ARS day at St. Paul’s Cathedral, starting at 10 a.m. with the “Next Generation” in performance. Joe Lewnard, winner of Piffaro’s 2009 Young Recorder Player Competi- tion, is still a teenager, yet is professional and poised. His rendition of two scarily difficult Telemann fantasias gave him a chance to impress with his virtuosity. Mary Rocheleau already studies at McGill University with Matthias Maute (by now, Lewnard’s teacher too). This was evident in her playing, espe- cially of the Fantasia and Echo by Jacob van Eyck, where she handled the echos nicely. To play Van Eyck, one needs both intensity and virtuosity; she has both. Ching Wei is a recorder student of John Tyson at the New England Conservatory. He played a Corelli Adagio beautifully—from memory and with his own embellishments. 24 September 2009 American Recorder Fringe concerts offered chances to dents rose to the task, offering a musical- hear additional chamber operas comple- ly satisfying and elegantly staged opera. It’s a sign of the menting BEMF’s offering of Venus & The six-piece orchestra provided true believer when Adonis and Actéon. Henry Purcell’s Dido stylish and sensitive accompaniment, 200 people come out and Aeneas was given in a costumed and including well-matched Baroque flute staged production by the New York playing by Colin Brown and Jacob to hear Medieval music Collective of the Performing Arts Farnsworth (both also performed an at 11 p.m. (NYCPA), here a collaboration of excellent Chaconne from Jean-Marie Flying Forms and Opera Meraviglia. Leclair’s Deuxieme Récréation de musique, or two harps, solo vielle or rebec, bag- NYCPA is off to a flying start with Op. 8, as a prelude to the opera). This pipes, double recorder, much varied this first production. All of the singers, type of performance showcases the best percussion and two Medieval trumpets. even ones in smaller parts, used excellent of what American university early music The whole was well played and sung. diction, which allowed the luxury of not programs can offer. (A video of the opera One might expect to hear recorders having to look at the libretto. The singers is at www.vimeo.com/5136414.) in such Medieval fare, but Goffredo were well-supported by the orchestra. Deborah Booth deftly performed Degli Esposti played none of the Purcell’s Dido & Aeneas owes much works for both flute and recorder in common varieties, instead displaying the to his teacher Blow’s Venus & Adonis. Ensemble Breve’s mid-afternoon versatility of the double recorder—either The instrumentation used by Purcell is “Flauto d’Amore.” Assisted by Louise playing two voices at once, melody with usually strings and continuo, but Flying Schulman, violin, Jessica Powell, viola da a drone or melody jumping between Forms added bassoon and recorder, both gamba, and Tami Morse, harpsichord, the “halves” of the instrument, or a played by Rachel Begley. While there Booth played recorder on two sonatas by rhythmic “chordal” accompaniment. is no evidence in the surviving scores late-16th- and early-17th-century com- This instrument was introduced in the that winds were used, some scholars posers Giovanni Paola Cima and Fran- program’s second piece, the popular conjecture that they might have been, cesco Turini. These fantasia-like early Landini ballata, Ecco la primavera, in since Venus & Adonis specifies recorders. sonatas spotlighted the recorder’s clear, which he played both cantus and tenor The recorder was used sparingly, bright timbre and crisp articulation. parts. On the long istampita, Ghaetta, most obviously adding a pastoral flavor It’s a sign of the true believer when Esposti played the cennamella (shawm); to the ritornelle that begin and end Act II, 200 people come out to hear Medieval he astounded by not visibly taking any Scene 2. Bassoon was played frequently music at 11 p.m., as was the case for the breath, using circular breathing! in the continuo group, but especially second BEMF concert by Micrologus, Afterwards, Esposti chatted about effective was the buildup of instruments “Venite Amanti a la Lizadra Festa.” The his double recorder, which was made by in the Ground dance, with the bassoon pleasing acoustics of Emmanuel Church the Italian recorder maker Francesco Li playing the ground at its end, and then favored the music of the Italian Ars Virghi, and based on depictions in 14th- leading directly into the driving bass of Nova. Instrumentation varied for the century Italian frescos and paintings and “oft she visits this loved mountain”— dances, the majority of the program: one on various folk double duct flutes. Blow- a showcase for Begley’s bassoon skills. ing into the side-by-side windways takes After lunch, Charpentier’s Les Arts a lot of air and simultaneously sounds Florissants, produced by the Oberlin both pipes, each fingered by one hand. College Conservatory of Music Melodies can be played without drone or Historical Performance Program, accompaniment by tilting the instrument drew a full house. Performed by 12 slightly to blow into just one windway, Oberlin undergraduates—six instru- shifting to the other when going up or mentalists, six singers—it was an ambi- down the instrument’s full range. It has tious undertaking. Besides using the no tuning joints; Esposti’s placement of expected historical instruments—pairs of beeswax just above the two duct windows Baroque violins and flutes, gamba, and to tune the pipes made a visible ridge. harpsichord—and besides being fully Adding wax lowers the playing pitch. staged and costumed (wigs and all!), the Esposti’s research of iconographic production incorporated Baroque dances evidence indicates the double recorder reconstructed by Julie Andrijeski and was the predominant flute-type instru- Baroque gesture coached by Ellen Har- ment in 14th-century Italy; there is little gis (both BEMF veterans). The stu- Goffredo Degli Esposti. or questionable evidence of recorders, Photo: Charles Coldwell. and no evidence of the transverse flute. www.AmericanRecorder.org September 2009 25 SATURDAY, JUNE 13 seemingly effortless ensemble playing— by Anna Bon (c.1740-after 1771), Overlapping morning events started especially in the first “half,” music from a woman “shaped by her studies at with Les Délices: Debra Nagy, oboe; the early Italian Baroque, where tech- Vivaldi’s Ospedale della Pieta in Venice Lisa Goode Crawford, harpsichord; and nique and sudden transitions of tempo and by her service with Haydn at the Laura Jeppesen, gamba. In a program of and character are requisites for success. court of Prince Nikolaus Esterhazy.” It music from François Couperin’s Concerts An excellent concert by the Oriana was a treat to hear Bon’s works—ranging Royaux, Nagy—highly-regarded as a Consort included as the meat of its from divertimenti for one to four instru- Baroque oboist, and known in recorder program J.S. Bach’s Cantata #4: Christ ments, to a modern premiere of an circles—played commendably. lag in Todesbanden, which gave chills. The offertorium for 15 musicians— After hearing performance after concert ended with Michel-Richard voices, strings, oboes, horns, organ exciting performance, it did not seem Delalande’s De profundis, in which two and fortepiano. possible that there was still a sensational numbers used recorder. The work In the evening, the BEMF recorderist who could stand one’s hair on originally calls for obbligato oboe (here Chamber Ensemble (including Gon- end. Thus was the case with Martina tenor recorder) and flute (alto recorder). zalo X. Ruiz, Debra Nagy and Kathryn Bley, who has played for 20 years in In both cases, Scott Ketcham made the Montoya, oboe and recorders; and Tom Musical Playground with Jörg Jacobi, recorder’s presence felt—in part due to Zajac, percussion), Dance Ensemble, harpsichord. Bley has a powerful playing Oriana’s delicate accompaniment. and Youth Ensemble put on “An style, but is also capable of the nuances of Ensemble Hantaï comprises the Evening of Chamber Opera.” Consist- articulation, coaxing colors from the sons of painter Simon Hantaï. As a trio, ing of Venus and Adonis by John Blow, recorders. Her “day job” is as editor of they are experts on the three most popu- and Actéon by Marc-Antoine Charpen- edition baroque in Bremen, Germany. lar instruments of the French Baroque— tier, the performance was a pleasure The morning also brought Amici harpsichord, gamba and traverso. The aurally and visually. The music was da Lontano with “The Voice of Her BEMF-offered “Bach and His French expressively performed and interpreted Heart: A Woman’s life and loves in the Contemporaries” presented urbane and by singers and dancers, by adults and solo vocal music of England, France and lively music from the early-18th-century children in all manner of configurations. Italy.” Even one who is not fond of French court. Couperin’s chamber pieces female singers would enjoy the bewitch- selected from Concerts royaux and Les SUNDAY, JUNE 14 ing voice of soprano Jenifer Thyssen. Goûts-réünis were elegant and graceful. As usual, Sunday morning was devoted The program, divided into five Flutist Marc Hantaï was featured to an ARS town meeting and playing sections and involving seven other on works by two German composers— session. A disappointing number—only performers, included recorderist Paul G. Ph. Telemann, who visited Paris eight people—ate breakfast and chatted Leenhouts and one of his students, and was taken with the graceful French informally. After breakfast, the group Jon Daniels. While recorder sensibilities Baroque style, and J.S. Bach, who never added one more player, and spent a were pleased anytime our instrument was set foot in France but who admired a pleasant hour with Purcell, led by involved, in particular The Plaint, by number of French composers. ARS President Lisette Kielson. Purcell, was the vehicle in which voice An enthusiastic audience brought The last recorder concert was the and recorder blended perfectly. The the brothers back for an encore. much-anticipated Flanders Recorder crowd gave Lontano its loudest claps. La Donna Musicale (a large Quartet with the last of the week’s Beacon Hill Friends House hosted and varied ensemble of voices and programs on love, “The Amorous Flute” Quicksilver (an ensemble of seven instruments, including flutist Na’ama After intermission, the contra bass including Greg Ingles, trombone, and Lion, oboists Joyce Alper and Kathleen recorder made its appearance for a Pur- Dominic Teresi, dulcian). The 80- Staten, and hornists Laura Klock and cell Fantasia. It was greeted by a smatter- minute (no break) fringe event could Jean Jeffries) offered a dinner-hour ing of applause, increasing as it was have lasted twice that without complaints fringe concert at the Benjamin Franklin noted that this is the recorder made for from the standing-room audience. The Institute. Not the most aesthetically FRQ by Friedrich von Huene, returning high-ceilinged yet intimate room was as pleasing setting (a large assembly hall), to Boston after several years in Europe. much a part of the performance as were it did provide much-needed room for Recorder players can plan now to the musicians. Being seated close to the the ensemble’s following—and acoustics return to Boston—for the 2011 BEMF. musicians created constant eye contact in which every nuance was heard. Thanks to these BEMF reporters: and communication between audience Led by director and gambist Laury Rebecca Arkenberg, Martha Bixler, Charles and performers. Gutiérrez, La Donna Musicale performs Coldwell, Laura Conrad, Bonnie Kelly, Quicksilver’s program was filled music by women composers. This pro- Lisette Kielson, John Nelson, Marilyn with drama, lyricism, virtuosity and gram introduced the audience to music Perlmutter and Nancy Weissman. 26 September 2009 American Recorder New Recorders on Display A Lecture-Recital by the Inventor of the Modern Text and photos by Charles Coldwell Harmonic Recorder Series The Modern Recorder series from Visitors to the Von Huene Workshop Mollenhauer is based on research and (Boston, MA) booth at BEMF could design work from the collaboration of congratulate Friedrich von Huene on recorder virtuoso Nikolaj Tarasov celebrating his 80th birthday in 2009. and maker Joachim Paetzold. New is his Denner alto at A440, which Tarasov started his lecture-recital by he started developing in 1968. noting that it grew out of his investiga- Hiroyuki Takeyama of the Ta k e - tions into the repertory and structural yama Recorder Workshop (Osaka, evolution of the recorder in the 19th- Japan) has exhibited at BEMF for 20 and early-20th centuries (principally years. New in his display was a voice the czakan); and a quest to provide an flute at A415 modeled after Bressan, instrument more expressive and and a tenor in C at A440 with a corps de suitable for contemporary music. réchange at A415. Both are available Recorders from the 18th century with imitation ivory mounts. have served as models for solo instru- Jean-Luc Boudreau (Montréal, ments made by 20th-century makers, QC) brought a Jacob Denner model at Küng Recorder Manufacturing but have limitations: soft low notes A415. His Aesthé line of semi-hand- Company (Switzerland) showcased that cannot be played flexibly, and crafted recorders includes a Baroque their recently introduced (2007) con- squeak when blown loudly; loud high bass recorder with both A440 and tra bass in F, or sub-bass—at over 6.5 notes; and limited dynamic fluctuation A415 center joints, and two caps feet tall, the conversation piece of their throughout the instrument’s range. allowing direct blow or use of a bocal. exhibit (above). Also displayed were Tarasov and Paetzold came up Ralf Netsch (Lagenbuch, Ger- instruments by MARSYAS, an inde- with their new design in 1996, based many) displays instruments pleasing to pendent maker of instruments devel- on the acoustic principle of tuning the ear and eye alike. His Baroque alto in oped by Heinz Ammann, partly man- natural harmonics of the instrument so G, after Gahn, can be ordered with the ufactured at Küng, then hand-tuned they play in tune when blown harder. original’s ornate carving (below). and -finished by Christoph Trescher. On traditional Baroque recorders, Prescott Workshop (Hanover, blown harmonic notes are out of tune. NH) debuted its transitional alto in G The Modern Alto is considered (at A466 or A440, or corps de réchange). the first Harmonic Recorder, and has a It has a wider bore characteristic of longer, less-conical bore and keywork, early-17th-century instruments, which favors the lower register, but plays the standard Baroque alto range using normal Baroque fingering. Wenner Flöten (Singen, Ger- Mollenhauer (Fulda, Germany) many) displayed Einhorn (Unicorn) brought a variety of recorders, from Recorders. Martin Wenner formerly historically-based to innovative con- worked for Küng; his workshop has temporary models, designed by made high-quality copies of Baroque Adriana Breukink, Fred Morgan, von recorders since 2002. On display were Huene and Maarten Helder. Nik several altos: a Stanesby Jr. (A415, Tarasov was at the booth, and gave two optional A440 additional joint); P. J. lecture-recitals during BEMF on the Bressan (A415 or A392); one after an Modern Soprano and Modern Alto. Italian instrument by Joannes Maria New to the Modern Recorder line is Anciuti, originally pitched near A440; an alto in G, especially useful for Tarasov holding a and a J. Steenbergen scaled to A440. pieces in "sharp" keys. Modern Alto with an E key.

www.AmericanRecorder.org September 2009 27  to help achieve pure harmonics when with high F like Brandenburg No. 4. Tarasov also played several jazz overblowing the first octave. A Modern Recorder can compete in pieces he had composed, ending with Besides being a much louder and volume in tutti passages that lie in the his own lively jazz/swing piece that assertive sounding instrument, it has low register, such as in the Branden- showcased a variety of articulations— a wider range of dynamics through burg No. 2—especially welcome when double-tonguing, flutter-tonguing, breath control, without pitch fluctua- performing it with modern orchestras “spit-catto” and fipple vibrato. tion or squeaks. The recorder’s range and with modern oboe, violin and extends upward to three full octaves, piccolo trumpet in the concertino. Follow-up Resources with the ability to play the high third- The primary point of the presen- Tim Broege, “On the cutting edge:  octave notes (like alto F ) in tune with- tation was to demonstrate the versa- The quest for the ‘Grail’ out needing to stop the bell. A very tility of technique, tone and abilities of continues: finding the perfect clear and soft upper register can be the Modern Recorder, and the wide ‘modern’ recorder.” AR 46, No. 3 produced, as high notes do not have to range of repertoire that it opens up. (May 2005): 30-31. Online for be forced. Tarasov showed that a per- He illustrated this by performing ARS members. former can alter tone color by directing musical examples on Modern Alto and Sue Groskreutz, “Conversation with the airstream within the mouth. Modern Soprano models (sometimes Nikolaj” (Interview: Nikolaj While copies of 18th-century with CD accompaniment). Tarasov). ARTAfacts 6, no. 1 instruments are well-suited for most His examples ranged from folk to (March 2001): 3-9. Baroque music, he noted that contemporary and jazz. One selection www.arta-recorder.org/ Modern recorders can also be used from the 19th-century czakan reper- artafacts/2001/ARTAfacts_Vol6 to play Baroque music and are very tory was the virtuosic Introduction et No1_MarY2K1.pdf useful for some situations—for variations brillantes pour le csakan avec Pete Rose, “A new recorder for new example, when performing a Telemann accomp. de piano-forte, Op. 15, by the music.” AR 37, no. 4 (September concerto that extends beyond third- prolific composer for and performer 1996): 18-20. Online for ARS octave G, and when playing pieces on the czakan, Ernest Krähmer. members.

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

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

28 September 2009 American Recorder Q & A ______Readers tell us what they use in place of a thumbrest Readers were asked to submit responses to and adjusted to come to rest on the Hawk sent photos showing the the following question, which appeared in ‘low’ part of the hand between the sling attached to his Moeck Bubinga the May 2009 issue of American thumb and first finger provides sup- Keyless Tenor, a heavy instrument (and Recorder: port for the recorder. Like a thumbrest, one that is hard to hold in one hand, uestion:“I have been using thumbrests it aids in alignment of the right-hand while taking the photo with the other Q on all sizes of recorders larger than fingers with the finger holes but allows hand, without wrist contortion). soprano but am not completely satisfied the hand greater freedom of motion. “I've twisted the leather in one with them because they restrict my wrist It works with soprano, alto and tenor picture [close-up with thumb below] motion somewhat in playing the recorder’s recorders.” to demonstrate how you can adjust the lowest notes. Is there any device I can use At a workshop, John Gangwisch length as needed. And the best news is in place of a thumbrest that will keep the of Downington, PA, saw a large that it doesn't mar the finish on your recorder from slipping out of my hands rubber band being used as a thumb beautiful instrument. This is an expen- but will not inhibit flexible wrist motion? sling. It was looped around the bottom sive device though. I think the leather How do you stabilize your recorders?” of the instrument and pulled through costs $2.50/yard and there must be at So far 13 readers have responded itself, creating a loop for the player’s least 16 inches used on this recorder!” with a variety of good suggestions, thumb. Barbara Perkins of North Josef Wainz of Warren, MI, which are quoted or summarized here. Royalton, OH, has seen shoelace reports: “I have discovered a nice way Valerie Hess of Boulder, CO, thumb slings; she uses a sling made of keeping my alto and tenor recorders writes: “A friend of mine taught me to from a string of crocheted yarn on a from slipping without using a thumb- use a rubber band wrapped around the blackwood alto recorder so heavy that rest. I put a two-to-three-inch piece of area of the recorder where my thumb is glued-on thumbrests fall off. removable two-way tape on the back of most comfortable. The rubber prevents Michael Hawk the recorder under holes 4, 5 my thumb from sliding off, and if the of San Francisco, CA, and 6, where my right thumb band is on the thicker side, it allows for has used a sling with touches the instrument. The a fair amount of hand movement while success for some years. tape provides enough traction to keeping my thumb anchored in the “It is a simple piece of keep the recorder from slipping general vicinity needed to stabilize the 1/8” soft leather lacing recorder.” bought from a beading Carla Sciaky of Denver, CO, has store. I tie it into a also used a rubber band in place of a regulation square knot thumbrest and asks her students to put to make a big loop, rubber bands around their recorders, then tie a smaller too. She finds that the friction between surgeon’s loop to her thumb and the rubber makes the fit my thumb. It is instrument easy to hold up. The attached to the rubber band works especially well recorder foot by on plastic tenors, but she has also used looping the small loop it on her wooden recorders. through the bigger P. Scott Hewitt of Loveland, one. You can slip it OH, suggests using a thumb sling onto your thumb as I in place of a thumbrest. “A band of have done or slide it ribbon, leather, sturdy cloth, or string down to the base of tied around the foot joint of a Baroque your thumb if you recorder, looped over the right thumb, prefer.”

www.AmericanRecorder.org September 2009 29 and doesn’t restrict the movement of from a famous maker a needed if the recorder is held correctly. my right hand. The sticky gum couple of years ago, “Stabilizing a recorder is simple. Just eventually wears off, but because the the finish was so slick keep the instrument far closer to tape is removable, I just peel it off and that $2,000 worth horizontal than you’re used to doing, put a new piece on. I have been doing of recorder kept and it won’t slip at all. Most people this for six months without any damage wanting to squirt say that they hold their recorder at an to the finish of the recorder.” out of my fingers. angle of 45 degrees, but they’re just Instead of attaching stabilizing What to do? Thumbrests are ugly and repeating what they were told to do; devices to their recorders, some players unhistoric and won’t fit in my recorder they actually hold it much closer to place a special device on their right bag. Licking my right thumb before I vertical. Sopranos should be held thumb. Samantha Redston of Berke- played made it stick to the recorder a more-or-less horizontal, altos down ley Springs, WV, writes: “I have been little better, but that seemed socially slightly, and tenors down no more than using latex finger cots on my thumb unacceptable. 30 degrees. I find no problem in hold- instead of thumbrests for several years. “So I found an alternate solution: ing altos and tenors that way, though A finger cot gives perfect grip while Swingline Rubber Finger Tips. These my Renaissance tenor with a fontanelle allowing total wrist movement. are rubber things that fit on finger- does become a bit heavy. I’m amazed at Frankly, it’s like a little condom that tips and have little rubber elevations. how much freer my hands feel when I you roll down over your thumb. One They’re used by bank tellers and the hold my instruments that way.” of these lasts for about five to seven like to help count money. They’re Holding the recorder in a more rehearsals (around 1-1/2 hours each). I quite popular with casino employees, nearly horizontal position proved bene- find them quite comfortable and not I understand. They come in sizes, ficial in more than one way for Janice visually obtrusive. Finger cots can be and I found that Extra Large – Size 14 Arrowsmith of Souderton, PA, when found in the Band-Aid section of any is just right for my thumb and seems a newly-purchased alto arrived without pharmacy, but not all sizes in the to help me get a good grip on my a thumbrest. She reports: “My won- package will fit a thumb. Large or recorder. Hey, I wear organ shoes derful teacher Deborah Booth and XLarge sizes (item #163-0003) can when I play that instrument, so why some excellent workshop instructors be ordered from Massage Warehouse not include recorder Finger Tips? had emphasized the importance of (www.massagewarehouse.com). “Swingline Rubber Finger Tips holding the instrument so that it points The only problem would be for those come in a box of a dozen for under out (at a slight downward angle) rather people who are allergic to latex.” three dollars. You can get them at most than down (like a clarinet). The higher William F. Long of St. Charles, office supply stores. They last a long, position allows uninterrupted flow of MO, suggests using a similar device, long time.” air from the lungs through the throat to Swingline Rubber Finger Tips. Victor Eijkhout of Austin, TX, the mouth and directly through the “When I got my new low-pitch alto claims that no stabilizing device is instrument. Applying their advice to my new alto, I raised the music stand Provincetown Bookshop Editions to encourage myself to hold my head up and then held the instrument “GO FOR NEO-BAROQUE!” higher, and, voilà, my right hand gave sufficient, reliable support to the Andrew Charlton: Partita Piccola. For 4 Recorders (SATB) alto without a thumbrest. [Prelude; Allemande; Courante; Musette— “Adjusting my body and arm a neo-baroque epitome!] (Score & Parts, PBE-25) . . . . . $7.95 position not only improved the Andrew Charlton: Suite Moderne. For 3 Recorders (ATB) recorder’s sound by providing better [Baroque shapes but Hindemithian harmony] air support but also made a thumbrest (3 Playing-Scores, PBE-44) ...... $9.95 unnecessary. By the time the thumbrest Southwest of Baroque. David Goldstein’s “baroque Suite” I had ordered for the instrument on Cowboy Songs. For 2 Recorders (SA) (PBE-2) . . . . . $3.50 A good source for Recorder & Viol Music of all publishers. Send questions, answers and suggestions to Carolyn Peskin, Q&A Editor, The Provincetown Bookshop, Inc. 3559 Strathavon Road, Shaker Heights, OH 246 Commercial Street, Provincetown, MA 02657 Tel. (508)487-0964 44120; [email protected].

30 September 2009 American Recorder arrived, I had become accustomed repeated several times, as is done in to playing without it and sent it back. one of Vivaldi’s concertos. Try playing “Relocating the “However, I continue to use a that passage with standard fingerings. thumbrest on my tenor recorder Then try again using T1356 for the thumbrest may be   because, though I hold it at a higher D s and T56 for F , and see if you angle than I would a clarinet, it’s just don’t become a ‘believer’ in alternative the simplest solution a bit too heavy for me to hold as fingerings.” elevated as I do the alto.” Not all the reader responses to the problem.” Edward Green of Naperville, discouraged the use of thumbrests. IL, learned from the late Scott Reiss David Fischer of Kalamazoo, MI, Fischer also submitted the that a recorder can be stabilized by uses thumbrests on all his Baroque- following suggestion for attaching a supporting it at three or more points style recorders through tenor. neck strap to a bass recorder. “With for each note. Following that advice, he Although considered “not historical,” straight basses a helpful trick is to was able to do away with thumbrests they are practical. He has tried “shoe- attach the neck strap at a point about and now uses added fingers or string” thumb slings but finds that they six inches above the thumbrest and not alternative fingerings for a number of do not provide much side-to-side use the attachment loop that is part of notes to help support the recorder. “It stability, and figuring out how to tie the thumbrest. This counteracts the can many times be helpful to add right- just the right length of loop is tricky. tendency for the instrument to swing hand fingers just to stabilize the Thumb slings also have the away from the player. Knick basses do instrument. That will work as long as disadvantage of making page turns not have this problem because the bent the added fingers cause no change (or with the right hand impossible. head section puts the instrument’s very minimal change) in intonation. Fischer prefers either a wood or center of gravity nearer the point “For example, when playing the metal thumbrest, which he attaches of support.” middle C or D on a C instrument, or with epoxy glue. If it ever needs to be Judging from the variety of the middle F or G on an F instrument, removed, a sharp blow will take it off answers received, I would say that the if you add either finger 5 (right cleanly. He gives the following advice best method of stabilizing a recorder middle finger) or 6 (right ring finger), concerning the problem of restricted depends upon the individual player you’ll find that there is no change in wrist motion with thumbrests: and the instrument. Each player intonation, and the recorder is far more “Relocating the thumbrest may be should choose the method (s) most stable than without the added fingers. the simplest solution to the problem. suitable for his or her needs. Finger 4 (right index finger) can also It is important not to have the thumb- Thanks to those who contributed be used at a small sacrifice in intona- rest too low, as this will force the thumb solutions. tion. And for certain notes, such as into a cramped position, restricting Carolyn Peskin high A on the tenor or high D on the hand and finger movement.” alto, I place my right little finger on the molding between holes 6 and 7 to 34th Annual Fall Texas Toot help support the recorder. Nov 20-22, 2009 — Palestine, Texas “Alternative fingerings can also be useful. For example, T345 for the It's a weekend workshop for recorders, viols, reeds, voice, lute, harp, middle C on a soprano or tenor not and more! In the beautiful Piney Woods of East Texas, enjoy both only helps to stabilize the recorder but technique and ensemble classes, socializing, and after-hours activities  like the world-famous Krummhorn Konklave. Please join us! also facilitates going from B to C (avoiding the awkward raising and Our featured faculty includes: lowering of fingers 1 and 3). I have Annette Bauer Tom Zajac found that fingering helpful in playing Mary Springfels certain Van Eyck variations. Boulder Early Music Shop will be there with sheet music, instru- “An example where alternative ments, CDs and more. Danny Johnson, workshop director; Susan fingerings are helpful for the alto Richter, administrator. Info on classes, faculty, housing, and online    recorder is the passage D -F -D -B registration will be on the Website in October: (on the staff) played rapidly and http://www.toot.org or email [email protected]

www.AmericanRecorder.org September 2009 31 On the Cutting Edge ______45 Years In C by Tim Broege, [email protected] Everyone plays from the same entertaining for listeners, fun to play, page of 53 fragments (10 are shown conceptually remarkable, and t was November 1964. In San below). Vocalists are also welcome to historically important. IFrancisco, a new composition of participate, using any vowel or con- Riley remains active as a startling originality was presented sonant sounds they choose. Each composer, and enjoys a close and at a venue known as the Tape Music performer begins with the first frag- productive relationship with the Center. The 20-member ensemble ment and proceeds through the Kronos String Quartet, in particular. comprised some of the leading succeeding fragments at his or her own For Kronos he has written 25 string contemporary music performers of pace, repeating each fragment at will quartets, including Salome Dances the time, including composers Jon before moving on to the next fragment. for Peace, which was nominated for Gibson and Morton Subotnick. The score is currently available as a Grammy Award. The name of the piece was In C, a free download at otherminds.org./ Since 1970, when Riley journeyed and the composer was a young man SCORES/InC.pdf. Reading the to India to study with the North Indian named Terry Riley. As David Har- complete performing directions vocal master Pandit Pran Nath, North rington of the Kronos Quartet wrote increases the listener’s understanding Indian music has been an important recently, “Today, In C has become an of the piece, and following the frag- component of his work. He is a skilled essential component in the history of ments while one listens is lots of fun. improviser as well, and regularly per- music. Basically, if you go to a music The work was initially released forms solo piano concerts of his works. school anywhere in the world now, you on vinyl by CBS (Sony) in 1968. For But, you ask, what about the will learn about In C. It has become that recording, the following ensemble recorder? This question leads us to a that influential and well-known….” was used: Terry Riley, leader and fine concert that took place at Carnegie Remarkable for its conception, saxophone; Margaret Hassell, Hall in New York on April 24. the composition helped launch the pulse (eighth-note high Cs repeated The concert was presented to Minimalist movement that has been throughout); Lawrence Singer, oboe; celebrate the 45th “birthday” of In C an important component of American Darlene Reynard, bassoon; Jon Has- and was a project coordinated by the music ever since. The score (only three sell, trumpet; Jerry Kirkbride, clarinet; Kronos Quartet. A unique gathering of pages long) consists of 53 musical David Shostac, flute; David Rosen- musicians was assembled on the stage fragments —some as short as one note, boom, viola; Stuart Dempster, trom- of Stern Auditorium at Carnegie Hall none longer than a line—and two bone; Edward Burnham, vibraphone; including (of course) the Kronos pages of performing directions. and Jan Williams, marimba. Quartet and composer Terry Riley; Perhaps the most unusual aspect I was at university studying four performers who participated in of the music is the composer’s instruc- composition when the recording of the premiere in 1964: trombonist tion that “any number of any kind of In C was released. My compositional Stuart Dempster, wind instrumentalist instruments can play.” He suggests an world was forever altered after hearing Jon Gibson, pianist Katrina Krimsky ensemble of “about 35,” but in fact the the recording. Subsequent oppor- and composer-performer Morton piece has been performed by small tunities to perform the piece have Subotnick; as well as, among others, mixed ensembles as well as groups convinced me that this is one of the master Indian vocalist Ustad Mash- of 100 players or more. rare works of modern music that is koor Ali Khan; vocalist Sidney Chen;

1. 2. 3. 4. 5. 6. (

C. (

7. 8. 9. 10. ( (

32 September 2009 American Recorder jazz trumpeter Dave Douglas, com- stage, with Riley just behind poser Osvaldo Golijov, composer- The stage set-up placed them; QNG (distinctive with their sound artist Joan La Barbara, and the Kronos Quartet in Paetzold bass recorders) was on one contemporary piano music specialist the center of the stage, side, and Margaret Leng Tan with her Margaret Leng Tan. For readers of with Riley just behind toy piano on the other. Deployed this column, the big news was the them; Quartet New around the stage were vocalists, participation of the Quartet New Generation (distinctive including members of the Young Generation (QNG), a leading con- Peoples Chorus of New York, as well as temporary music recorder ensemble. with their Paetzold players of strings, keyboards, winds, The stage set-up placed the bass recorders) percussion and unique instruments. Kronos Quartet in the center of the was on one side.... The score was projected on the back wall of the stage so the audience QNG in could follow the ongoing process of close-up (r); the piece. Conductor Dennis Russell full stage, Davies was given the title of “Flight below. Terry Pattern Coordinator.” The perfor- Riley (in mance was a marvel that lasted white jacket) over 90 minutes. and players Recorder players should remem- bow, bottom. ber the instruction for In C: any num- ©Julien ber of any kind of instrument can play. Jourdes, I look forward to recorder orchestras taking up the piece, if they haven’t 2009. already! Courtesy of Carnegie Hall.

www.AmericanRecorder.org September 2009 33 Education ______Recorder exams through the ______Royal Conservatory of Music of Toronto By Scott Paterson he Royal Conservatory of Music at www.rcmexaminations.org. Tof Toronto (ON) was founded Canadian exam applications can Scott Paterson has been a recorder in 1886 and has grown to be one of be made at the same web site, while teacher and ensemble coach at the the largest music schools in North information about the National Royal Conservatory of Music of Toronto America. Along with divisions Music Certificate Program exams since 1979, and has been an examiner serving the community and profes- administered in the U.S. is found at for the Royal Conservatory since 1988. sional students, the Conservatory www.nationalmusiccertificate.org.. He has served on the Board of the ARS, administers an extensive examination and is currently a member of the system. Modeled originally on British The aim of the Publications and Education Committees. examination systems, the Conserva- syllabus is to offer tory system has become an important wide-ranging exposure part of Canadian life, with tens of thousands of music students taking to the recorder’s the exams every year in centers large repertoire embedded in and small across the country. a progressive program For many years, it has also been that engages all aspects possible to take Conservatory exams in selected international locations, of the student’s including in the U.S. Each exam is musical experience. adjudicated by an examiner who travels to the site. While the piano syllabus includes Examinations in recorder have every grade, the recorder syllabus been offered since the 1970s, and the (like that for other wind instruments) recently-released 2008 version of the includes only grades 1, 2, 4, 6, 8, 9, 10 recorder syllabus updates the previous and the final diploma level, the Asso- 1994 edition. The 2008 recorder syl- ciateship of the Royal Conservatory of labus is the first of the Conservatory’s Toronto (ARCT), awarded in both syllabi to be available free online Performer’s and Teacher’s versions.

34 September 2009 American Recorder The requirements for each numbered grade consist of two ARS Membership Enrollment and Renewal repertoire selections, several studies,
I am a new member
I am or have been a member scale work, ear tests, and sight- U.S./Canadian Memberships Foreign Memberships reading. Grades 8 and above also
$45 One Year
$55 Foreign One Year
$75 Sustaining (Receive a Hottetere Hands Pin)
$100 Foreign Two Years require five obbligato excerpts from
$80 Two Years orchestral and chamber works, and LIFETIME MEMBERSHIP Single Dual grades 6 and above include theory Regular Lifetime Member $1,000 (2) $1,500 (4) 4 installments of $250 available) co-requisites that are tested separately. Loyalty Lifetime Member (1) $ 800 (3) $1,200 (4) The ARCT in Performance is 4 installments of $200 available (1) For members who have maintained membership for five consecutive years. in a recital format requiring three (2) $750 is Tax Deductible repertoire items and obbligato excerpts. (3) $600 is Tax Deductible (4) The Teacher’s ARCT is a broad- Installments available based examination that includes per- Student Memberships Other Memberships formance of repertoire, studies and (Enclose proof of full time enrollment)
$65 One Year Workshop Membership
$25 U.S./Canadian One Year
$125 One Year Business Membership obbligato excerpts, ear tests, sight-
$45 U.S./Canadian Two Years reading, a viva voce discussion of
$30 Foreign One Year
$5 Additional Charge for Dual Address or Dual Name pedagogical principles and representa-
Do not list my name on the ARS Online Directory tive teaching repertoire, and a demon-
Do not release my name for recorder related mailings
Do not release my email address for any purpose stration lesson. ARCT candidates
Do not contact me via email. must also pass a piano examination at the grade 6 (Performer’s) or grade 8
My address, telephone and email address have not changed. (Teacher’s) level. ______The aim of the syllabus is to Name Phone Number ______offer wide-ranging exposure to the Address/City/State/Postal Code Email Address recorder’s repertoire embedded in a progressive program that engages all Please charge to: (Circle one) VISA/MasterCard/AMEX/Discover aspects of the student’s musical CC#:______Expiration Date: ______experience. Performance material is Signature of cardholder:______chosen from all historical periods and many different styles, including Clearly Print Name as it appears on Card:______Renew by Mail, Online, By Phone or by Fax popular styles. In most grades, students are encouraged to play a Demographic Information contemporary work as one of the two (optional information collected only to enhance ARS services and provide statistics to grant makers): repertoire items. From the earliest I am a member of ARS Chapter or Consort______
I am the Chapter Contact grades, students are encouraged to My age:
Under 21
(21-30)
(31-40)
(41-50)
(51-60)
61-70)
(71+) play different sizes of recorder, and from grade 8 students are required Please check all that apply:
I am a Professional Recorder Performer. to play on at least three different sizes in the course of the exam.
I wish to be included in the list of Recorder Teachers in the ARS Directory and website. I Teach: (circle your choices) Scale work is cumulative, starting Types of Students: Children High School Youth College Students Adults with the four most common keys and, Levels: Beginner Intermediate Advanced Pre-Professional Types of Classes: Individuals Children’s Classes Adult Classes Ensembles in grade 10, working up to scales in Certifications: Suzuki Orff JRS Leader Kodaly thirds, chromatic and whole-tone scales, and dominant and diminished- Where I Teach: : (circle your choices) Music Studio Public or private school Community Music School seventh arpeggios. Various articu- College Other : ______lations are employed including American Recorder Society Phone: 314-966-4082 historical articulations such as Fax: 314-966-4649 drdr and did’ll did’ll. 1129 Ruth Dr. TollFree: 800-491-9588 St. Louis MO 63122-1019 [email protected] Ear tests (which are the same for www.AmericanRecorder.org all instruments and voice across the www.AmericanRecorder.org September 2009 35 American Recorder Society Publications Erich Katz Contemporary Music Series Members Non-Members entire Conservatory exam system) A Short Tale for Two Basses Suzanne M. Angevine (Level II) (2 scores) $5 $8 feature identification of intervals, Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score & parts) $10 $18 Dorian Mood Sally Price (SATB) (Level II) (score & parts) $10 $18 chords and cadences, plus clapping Double Quartet for Recorders Peter Ballinger (Level II-III) (score & parts) $10 $18 Entrevista Frederic Palmer (SATB) (Level II) (2 scores & 4 recorder parts) $8 $14 (rhythmic) and melodic playback. Kyrie and Vocalise for Soprano Voice &Recorders Stanley W. Osborn $8 $14 (SATB) (Level II) (2 scores & 4 recorder parts) Experience shows that, for most Picnic Music Jeffrey Quick (SATB) (Level II) (score & parts) $5 $8 Six Short Pieces for Three Recorders edited by Alan Drake $8 $14 students, each of the lower grades is (3 scores) Vaclav Nelhybel (AA/TT) (Level II) Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12 achievable with a year’s work, while (Level II) (2 scores) Sonatine for Three Altos Lee Gannon (Level III) (score & parts) $14 $26 it often takes longer to thoroughly Suite of Jewish Folk Tunes Erich Katz (S S/A8 A/T) (Level II) (three scores) $10 $18 prepare the grade 10 and ARCT Musical Editions from the Members’ Library: examinations. Each student who 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 successfully completes the ARCT The ARS is happy to provide photocopied enlargements of any Members’ Library edition at the same prices. Please specify “Members’ Library Enlargement.” requirements is invited to receive a Arioso and Jazzy Rondo (AB) Carolyn Peskin Los Pastores (S/AAA/T + perc) Virginia N. Ebinger, arr. diploma at a convocation ceremony Berceuse–Fantaisie (SATB) Jean Boivert New Rounds on Old Rhymes (4 var.) Erich Katz Bruckner’s Ave Maria (SSATTBB) Other Quips (ATBB) Stephan Chandler held annually in Toronto. Jennifer W. Lehmann, arr. Poinciana Rag (SATB) Laurie G. Alberts Canon for 4 Basses (BBBB) David P. Ruhl Santa Barbara Suite (SS/AA/T) Erich Katz While examination preparation Dancers (AT) Richard Eastman Sentimental Songs (SATB) David Goldstein, arr. Different Quips (AATB) Stephan Chandler Serie for Two Alto Recorders (AA) Frederic Palmer can provide a high level of motivation Elegy for Recorder Quartet (SATB) Carolyn Peskin Slow Dance with Doubles (2 x SATB) Colin Sterne Elizabethan Delights (SAA/TB) Sonata da Chiesa (SATB) Ann McKinley and an incentive to sustained work on Jennifer W. Lehmann, arr. S-O-S (SATB) Anthony St. Pierre Fallen Leaves Fugal Fantasy (SATB) Dominic Bohbot Three Bantam Ballads (TB) Ann McKinley technical items such as scales, sight- Four Airs from “The Beggar’s Opera” (SATB) Three Cleveland Scenes (SAT) Carolyn Peskin Kearney Smith, arr. Three in Five (AAB) Karl A. Stetson reading or theory, it is not necessarily Gloria in Excelsis (TTTB) Robert Cowper Tracings in the Snow in Central Park (SAT) the right path for every student. How- Idyll (ATB) Stan McDaniel Robert W. Butts Imitations (AA) Laurie G. Alberts Trios for Recorders (var.) George T. Bachmann ever, even the student who chooses not In Memory of Andrew (ATB) David Goldstein Triptych (AAT/B) Peter A. Ramsey Lay Your Shadow on the Sundials (TBgB) Two Bach Trios (SAB) William Long, arr. to take the examinations will find in Terry Winter Owens Two Brahms Lieder (SATB) Thomas E. Van Dahm, arr. LeClercq’s Air (SATB) Richard E. Wood Variations on “Drmeš” (SATB) Martha Bishop the syllabus a carefully graded source Little Girl Skipping and Alouette et al (SATBCb) Vintage Burgundy (S/AS/ATT) Timothy R. Walsh Jennifer W. Lehmann, arr. list of performance material and ARS Information Booklets: technical disciplines to help give 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 shape to private study. Adding Percussion to Medieval and Improve Your Consort Skills Susan Carduelis Renaissance Music Peggy Monroe Music for Mixed Ensembles Jennifer W. Lehmann American Recorder Music Constance Primus Playing Music for the Dance Louise Austin Burgundian Court & Its Music Judith Whaley, coord. Recorder Care Scott Paterson

Education Publications The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). First copy free to ARS Members (mailed to new members as they join); replacement copies, $3. Guidebook to the ARS Personal Study Program (1996). Material formerly published in the Study Guide and Study Guide Handbook, plus additional resources. Members, $11; non-members, $20. ARS Music Lists (2002 with 2003 Supplement). Graded list of solos, ensembles, and method books. Members $9; non-members, $15. Package Deal available only to ARS members: Guidebook and Music Lists/Supplement ordered together, $16. Junior Recorder Society Leader’s Resource Notebook. ARS members, $20; non-members, $40 (updates at reduced rates after initial purchase). $5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+).

Videos 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 $5 to the ARS office along with the address to which the tape should be shipped. Pete Rose Video. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recital. Features Rose performing a variety of music. and an interview of him by ARS member professional John Tyson. Other Publications Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering forming an ARS chapter. ARS members, $10; non-members, $20 (updates free after initial purchase). One free copy sent to each ARS chapter with 10 members or more. Consort Handbook. Resource on consort topics such as group interaction, rehearsing, repertoire, performing. ARS member prices: CD, $10; hard copy, $20; combo price of CD and hard copy ordered together, $25. Discography of the Recorder, Vol. I (1989) . Compiled by Scott Paterson and David Lasocki. Discography of the Recorder, Vol. II (1990-1994) . Compiled by Scott Paterson. Either single volume: ARS members $23; non-members, $28. Both Discography volumes together: ARS members only, $40. American Recorder: Cumulative Index for Vols. I-XXXX. ARS members, $20; non-members, $32. Index Supplement, Vol. XXXIV-XXXX. ARS members, $8; non-members, $14.

Shipping & Handling Fees Under $10 - add $3; $10-19.99 - add $4; $20-29.99 - add $5; $30-39.99 - add $6; $40-49.99 - add $7. All prices are in U.S. dollars. For Canadian or foreign postage, pay by credit card and actual postage is charged. Please make checks payable to ARS. VISA/MC/AMEX/Disc also accepted. ARS, 1129 Ruth Drive, St. Louis, MO 63122 U.S. 800-491-9588 [email protected]

36 September 2009 American Recorder Chapters & Consorts ______Play-the-Recorder Month he 2009 ARS Play-the- for PtRM, Thank You, ARS! and locally-owned bookstore housed in a TRecorder Month (PtRM) was boosting the total to about 30 renovated historic theater. The chapter celebrated as always in March, with performers. Their prize was a gift jazz band as well as a krumhorn Recorder Day! on Saturday, March certificate donated by the Von Huene quartet also performed. The chapter’s 21. Small groups and chapters in many Workshop/Early Music Workshop prize was a gift certificate from locations held a variety of interesting of New England in Brookline, MA. Honeysuckle Music in St. Paul, MN. events to commemorate it. Many Three submissions were ranked Rochester (NY) Recorder submitted contest forms, including equally by the committee, and each of Society: Besides a workshop, photos, detailing what they had done. them received a gift certificate. In Rochester had three concerts— Submissions are sponsored and alphabetical order, these were: informal ones at a garden show and an judged each year by the ARS Chapters Greater Denver (CO) indoor farmer’s market, and a sit-down & Consorts Committee. Prizes were Recorder Society: The Waldorf concert at a library. They had also given for the most creative events, School, a non-member ensemble, requested that recorder music be for the largest percentage increase and a professional group—totaling 55 played on their local NPR classical in chapter membership, and for the performers on recorder, violin and music station in March, with largest number of new members theorbo, including 10 children and announcements of Recorder Day! gained during the month. These prizes 2 novices—took part in an event at a For their participation, they received a were graciously donated, primarily by supportive ARS Business Members. Based on entries received by the Com- Strings & Early Winds mittee, the following awards were R made. Modern/Baroque Strings Viols Vielle The number one winner was the Küng Moeck Mollenhauer Paetzold Yamaha Ehlert E Wenner Baroque flutes Eugene (OR) American Recorder Society (EARS). The chapter Wendy Ogle Lu-Mi Ifshin Snow mounted a display at the Eugene C Competitive Prices Public Library for the entire month of Sent on Approval March, including recorders, photos of Personalized Service & Advice local recorder players, two locally- O made sculptures of recorder players, and other informative items. On R Recorder Day! the group held an open- invitation concert in the Atrium, a city- D owned office space that regularly hosts musical events on Saturday afternoons. Ten ensembles, seven composed com- E pletely of ARS members, played at the Atrium. Some people performed in R more than one group, with the total Lazar’s Early Music number of performers being 17— (866) 511-2981 [email protected] others joined in on the finale, playing S www.LazarsEarlyMusic.com Carolyn Peskin’s special composition 425 N. Whisman Rd., #200, Mtn. View, CA 94043

www.AmericanRecorder.org September 2009 37 gift certificate from Lazar’s Early Netherlands” and “Sephardim in the books. The motto of this group is Music in Mountain View, CA. Old and New Worlds.” Eighteen “Get ’em young and turn ’em on!” Philadelphia (PA) Recorder adults performed with a seven-member Carolina Mountains Recorder Society: A total of 15 people per- ensemble whose mission is to increase Society (CMRS): The ARS chapter formed in three nursing homes and understanding and appreciation by all in Brevard, NC (photo below), cele- three schools, two of the latter elemen- of Hispanic musical arts and culture. brated PtRM at its monthly play-along tary schools and the other a preschool. Outreach included publicity in on March 7 by playing music from The school audiences totaled about Spanish. The first of the two concerts their AR magazines over the years. 360 children. Their efforts resulted was performed on Recorder Day! and CMRS is the only ARS chapter in a gift certificate from Performer’s included the world premiere of a located in western North Carolina, Music in Chicago, IL. work they had commissioned. drawing monthly visitors from the For the largest percentage increase Monadnock (MA): Four western Carolinas, northern Georgia, in membership, a cash prize went to performers gave a concert at a senior and eastern Tennessee. the Metropolitan Detroit Chapter. home in Brattleboro, VT. The next day Utah Recorder Society: Eleven We hope they continue growing and found 10 performers, including three people—aged 19 to 80+, including a enjoying their music together. novices, at a community music center viol quartet as well as recorders, and The Erie (PA) Recorder in New Hampshire. ranging from “Just Barely Can” to Society is the winner in the category Potomac Crossing (WV): “Very Adept”—congregated for five of the chapter with the most new The group’s four members offered hours in Salt Lake City to prepare for members, adding four to their existing an interactive performance workshop a future performance at a church, group. They earned a gift certificate at a local K–5 elementary school, with which would be their outreach activity donated by Glen Shannon Music. 45-minute sessions for each grade, to the broader community. Their reaching 53 students. Inexpensive regular meetings draw people from a More PtRM News plastic recorders were given to kinder- huge geographical area. A number of other groups submitted gartners. The group received an Amer- The music comprised a variety of applications and/or reported activities ican Masterpieces Grant funded by the Renaissance compositions, educational to the ARS. For the energy and time West Virginia Commission on the Arts, and enjoyable for both players and that went into planning and executing part of which was donated to the school eventually for listeners. After lunch, the these events, we salute for purchase of recorders and beginner ceremonial high point for the day was and recognize them. Friendly Persuaders (MA): The entire month was dedicated to the exploration of Bach’s compositions suitable for their small group. Two people kicked off the month on March 1 in the Yarmouth Quaker Meeting House, with more Bach played there later in the month. A March 21 event was in an historic Cape Cod home and included a dinner for neighbors and friends. At the latter, three people performed, and a retired music professor guest also played a Telemann sonata at the invitation of the presenters. Highland Park (NJ): Two concerts were given—one each in a church and in a synagogue, respec- tively titled “A Convergence of Musical Cultures: Spain and the Carolina Mountains

38 September 2009 American Recorder playing Carolyn Peskin’s Thank You, and the special Recorder Day! music, series, marking their most ambitious ARS! This was followed by a round of Thank You, ARS! by Peskin. program ever played. Performing were playing personal “faves”; everyone had Albuquerque (NM) Recorder Lynda Abshire, Christy Crowley, brought copies to share. Orchestra: For Recorder Day! the Barbara Frames, Ray Hale (also the Greater Cleveland (OH): The group presented a concert titled emcee who spoke to connect the sets), theme of the chapter’s Recorder Day! “Something Borrowed, Secular Tunes Ruthann Janney (who sang and concert on March 21, at the South in Sacred Music,” a performance of played percussion as well as recorders), Euclid–Lyndhurst Branch of the Renaissance polyphony using cantus Kelly McDowell, Kees Onneweer, Cuyahoga County Public Library, firmi. To that basic idea were added Maria Rippiere and Carolyn Shaw. was “Voices of the Past and Present.” Baroque pieces such as the opening Dayton/Cincinnati areas of Several ensembles participated Bach chorale, Nun komm, der Heiden Ohio: A group of players performed at including Queensbridge Consort Heiland. Using Mille Regretz, L’homme the Centerville–Washington Township (Claire Krupp, Barbara Perkins, arme, Western Wind, Tandernaken, and Library to an enthusiastic audience of Carolyn Peskin, Don Shaffer and In Nomine, sets of several polyphonic patrons and staff. The program Valentin Ustinov). Since the ARS was arrangements around each cantus included music for the entire group of founded in 1939 and is celebrating its firmus were played. In the middle eight players as well as a number of 70th birthday this year, the Queens- were two pieces of Jacob van Eyck to duets. They attempted to cover music bridge played music associated with demonstrate his modos. The program for all eras, as they celebrated spring years ending in “9”: dances by William concluded with Nun komm der Heiden with Sumer is icumen in as an audience Brade (published in 1609); movements Heiland in a six-part polyphonic participation sing-along and played from Abdelazer by Henry Purcell (born version by Altenburg that uses the more recent music including Thank in 1659); movements from Water same melody as the Bach. You, ARS! Members of the group— Music Suite No. 1 by Handel (died in This is the third year the group Jenelle Allen, Janet Burke, Dan 1759); Puttin’ on the Ritz, composed in has appeared on the Albuquerque/ Duncan, Scott Hewitt, Frank Lowe, 1929 by Irving Berlin (died in 1989); Bernalillo County Library concert Linda Reitmann, Shirley Richardson- The Von Huene Workshop, Inc. is pleased to announce agreements with 7KH7 Coolsma Zamra to serve as their authorised service agents in the U.S.

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www.AmericanRecorder.org September 2009 39 Heartwood works for our instruments: The Children’s Suite, A Day in the Park, by LaNoue Davenport; Peskin’s Thank You, ARS! and Santa Barbara Suite by Erich Katz. Pilgrim Pipers Recorder Consort (Largo, FL): A free recital on March 13 at Freedom Square Retirement Home honored Dr. Ray McCourt and Yvonne Wingard— variation of the tune: in a minor key, Zepp, former professor at the Univer- intend to form a chapter in the near jazz, waltz, and—after the classes sity of Kansas and former (long-time) future. There were a number of other played in unison—boogie woogie. member of the ARS. The program, players and ARS members who were During Q&A, the children wanted directed by Richard Carbone, included unable to participate, but who are to see and hear the biggest recorder Moonglow and When the Saints Go interested in belonging to a new (C bass) and the smallest (garklein). Marching In (arr. Gordon Terrell), chapter. The children exited to the gentle Three Piano Duets & Dances for Two Heartwood (Souderton, PA): Moonlight Serenade by Glenn Miller. by Catherine Rollin, and Recorder At Heartwood’s March 20 perfor- Lynne Rush provided a narrative Calypso by Gwendolyn Skeens. SATB mance at Pennview Christian School, and had composed the variations. recorders were joined by a vocalist Franconia, PA, the 120 third-, fourth- Other members are Janice Arrow- and two pianists. and fifth-graders arrived to an intrada smith, Laura Loewen, Marilyn Nolt, Sweetwood Recorder by Johann Groh, then heard music of Ray Overpeck and Rob Yoder. Ensemble of the Northwinds (MI) various genres and periods including Moss Bay Recorder Society ARS Chapter: Borrowing 18 dances (a Courtly Masking Ayre by John (WA): A strong turnout at the recorders from the local school district, Adson; Lundu da Marquesa de Santos by Bellevue Library marked their Sweetwood used the instruments to Heitor Villa Lobos, a tango; and monthly meeting for March. With teach senior residents at the Hillside Liebesfreud by Fritz Kreisler, a waltz). Wini Jaeger conducting, they began Apartments how to hold, blow and They enjoyed a musical car-drive, the afternoon with the first verse of play the recorder. There were lots of complete with traffic jam and honking Psalm 90 in a setting by Sweelinck. giggles, and many smiles, and by the (In My Merry Oldsmobile, Bryan & Members then turned to several end of the session, all played Mary Edwards); blues by Jelly Roll Morton; examples of American music as a Had a Little Lamb beautifully. The and an early and a modern piece tribute to the ARS and to honor seniors received printed information to illustrating syncopation (Ala fe si ala fe composers who have created these keep, and one resident took five bona, 1520; and I Can’t Give You Anything But Love, Jimmy McHugh). Triangle Recorder Society As each of three third-grade classes stood in turn and played Hot Cross Buns, Heartwood played a

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40 September 2009 American Recorder recorders with her to teach her visiting grandchildren what she had learned. Triangle Recorder Society (NC): At its annual spring workshop on March 21, the theme was “French and Flemish, Medieval to Modern.” Led by friendly facilitators Patricia Petersen and Kathy Schenley, faculty included Jack Ashworth, Stewart Carter, Karen Cook, Holly Maurer and Jody Miller. More than 50 recorder players, singers, and early instrumentalists—from North Carolina, Virginia and beyond— swooned to the sweet songs of courtly love, explored the treasures of the Twin Cities troubadours and trouveres, and Recorder Guild mingled with Machaut and DuFay, Josquin and more. constantly admitted new people to the Following day-long specialty and audience. Performers asked the repertory classes, Recorder Day! and the audience to sing along with Thank You, 70th anniversary of the ARS were ARS! Publicity involved notices in the celebrated by playing Peskin’s Thank chapter newsletter, which also is sent You, ARS! under Miller’s direction to area event coordinators of early (photo on previous page). To cap off the music, radio stations and the paper day, many attended an electrifying that serves the library, which also evening performance by the Dutch posted signs in advance of the event. vocal ensemble Egidius Kwartet. It’s clear from the activities of the Twin Cities Recorder Guild groups’ reports that recorder players (MN): In the atrium entry area of are an involved and active group of Ridgedale Library in Minnetonka, people. Time now to put on your MN, 11 mostly intermediate players thinking cap and find some interesting —ranging from music director Kate things to do for Play-the-Recorder Stuart to a youth member—played a Month 2010 and Recorder Day! varied program of old and new music (set for March 20, 2010). Have fun on Recorder Day! Member Susan and be creative!! Lindvall arranged a beautiful rendition Marilyn Perlmutter of All Through the Night. The weather cooperated by providing a gorgeous day, and the door to the busy library

CHAPTER NEWS Chapter newsletter editors and publicity officers should send materials for publication to: American Recorder, 7770 South High St., Centennial, CO 80122-3122, [email protected]. Also send short articles about specific activities that have increased chapter membership or recognition, or just the enjoyment your members get out of being part of your chapter. Digital photos should be at least 3”x4”x300dpi TIF or unedited JPG files. Please send news to the AR address above, and to the following: ARS Office, 1129 Ruth Drive, St. Louis, MO 63122-1019, [email protected]; and to Bonnie Kelly, Chair, Chapters & Consorts Committee, 45 Shawsheen Rd. #16, Bedford MA 01730, [email protected].

www.AmericanRecorder.org September 2009 41 Music Reviews ______Grade A Select piggy tunes for young players, ______and folk songs of sea and land

ROLLING IN THE MUD: (2001) for recorder and strings. A list A COLLECTION OF PIGGY How well I remember, of his many works for diverse combi- TUNES FOR BEGINNING when I was a child, nations of instruments can be found at DESCANT RECORDER (OR my piano teacher www.johnlintongardner.co.uk. FLUTE) AND PIANO, BY SUZANNE giving me my first Gardner’s Minuet for Stephen was PALMER-HOLTON. Orpheus OMP149 sheet music to composed to honor another distin- (www.orpheusmusic.com.au), learn for a recital! guished English composer, Stephen 2003. S, pf. Sc 6 pp, pt 6 pp. Rolling in the Mud Dodgson, at a concert to celebrate his Abt. $18.70 U.S. would give ... the 80th birthday in 2004. Dodgson is How well I remember, when I same thrill. known mainly for his compositions for was a child, my piano teacher giving the guitar, but he used the recorder in me my first sheet music to learn for a notes against eighth notes. “Snoozing several works for chamber ensembles. recital! Rolling in the Mud would give in the Shade” has a broken-chord This piece, Gardner’s Op. 248, is young recorder students the same accompaniment in eighth notes, and very short—only 36 measures, not thrill. the young recorder player must count counting the repeat of the second Black-and-white sketches of out the pianist’s two-measure intro- section. It is very lyrical, marked piglets adorn the cover and each page duction and four-measure interlude. sempre espressivo. of the recorder part, illustrating the This set of pieces is perfect for a The piano introduction is titles of the six pieces: “Waking Up,” recital, perhaps with each “movement” based on the letters (in German) of “Playing Chasey,” “Snoozing in the played by a different child. Or, for a Dodgson’s name, and eight measures Shade,” “Rolling in the Mud,” “Snuf- school program, the recorder parts later the recorder enters, expanding fling in the Trough,” and “Settling could be played in unison by several the theme. The two parts are of equal Down to Sleep.” Each piece is also children to accompany pantomime importance and complement each subtitled, such as for #1: “It is dawn. and movement by others. So much other beautifully. The keyboard part is The sun is peeping over the horizon. material using only three or four notes well within the ability of an interme- Pigs wake up, stretch, and sniff the is available for young recorder players diate pianist who isn’t afraid of fresh air of the new day.” that it is easy to overlook this accidentals. This book is carefully prepared appealing, imaginative collection The recorder part also has many pedagogically, with its main goal to —but I highly recommend it! accidentals and lies very high, with teach children to play independently many occurrences of third-octave F with an accompaniment. The key- MINUET FOR STEPHEN, BY JOHN and G, making it a good practice piece board part is easy enough for novice GARDNER. Peacock Press PJT 019 for upper intermediate players. pianists, and the recorder part has only (Magnamusic), 2004. Minuet for Stephen is well worth four notes (G A B C) in the entire A, pf. Sc 4 pp, pt 1 p. $4.50. the practice—a stunning little piece book. Instead, a variety of rhythms The composer of this piece, John for performance. and meters provide challenges. Gardner, was born in 1917. According Connie Primus received the 2006 For instance, “Waking Up” to his biography in this edition, he “is ARS Presidential Special Honor Award, requires the recorder player to count one of the most distinguished com- and is a former President of the ARS. She quarter-note and half-note rests posers of his generation.” He has used served on the ARS Board for 14 years. against off-beat chords in the the recorder in a number of works She has taught music to adults and keyboard. In “Playing Chasey,” the including Little Suite in C for recorder children and has performed on recorder two parts alternate playing quarter and piano (1964) and Petite Suite and flute for many years.

42 September 2009 American Recorder POOR MARINERS, ARR. ALYSON soprano part in “Spanish Ladies” is THREE SCOTS TUNES, ARR. IAN LEWIN. Hawthorns Music RB19, best played on alto up an octave. Initial WILSON. Prima la musica! FLA003.1 2005. SATTB. Sc 20 pp, pts 4 pp, $19. tempos are not provided for “Admiral (www.primalamusica.com), 2007, A GIRL IN EVERY PORT, ARR. Benbow” (even though tempo changes TTBgB, AATT, SSAA. Sc 9 pp, ALYSON LEWIN. Hawthorns Music do occur within the song) and for “The pts 1 & 2 pp. Abt. $14.50 U.S. RB10, 1997. SATTB. Sc 12 pp, Mermaid.” Players will just have to Ian Wilson, the arranger of these pts 4 pp, $19.50. decide how fast a mermaid swims! pieces, is a member of the Flautadors, Alyson Lewin specialized in Most intermediate consorts will a professional recorder consort in the recorder and early music at Bristol find these collections of sea songs well UK that has issued a new series of University in England. As a teacher in worth including in their repertoire. music published by Prima la musica. Staffordshire schools, she devoted Wilson studied recorder and clarinet at much time to promoting the recorder TANGO 2007, ARR. BRIAN CLARK. the Guildhall School of Music, where in education for adults as well as for Prima la musica! CLA003 he won the woodwind prize twice (once young people. She now works freelance (www.primalamusica.com). STTB. on each instrument) and gained the —teaching recorder, lecturing on early Sc 2 pp, pts 1 p. Abt. $9.50 U.S. Principal’s Prize upon graduation. music for Keele University, running Brian Clark lives in Arbroath, In addition to performing, Wilson early music workshops for schools, and UK. He works as a musicologist, teaches at the Guildhall School of publishing with Hawthorns Music. editor and typesetter for many early Music & Drama, Trinity College of She is a musical adviser of The Society music groups, mainly through his own Music in London, Eton College and of Recorder Players, and is musical company, Prima la musica, as well as the Campion School in Essex. He is in director of its Staffordshire branch. King’s Music, Huntingdon, England. demand as an examiner and adjudica- In Poor Mariners, Lewin has pro- Clark describes this short tango as tor and was a judge of the 2005 Moeck vided us with very effective arrange- “An encore piece for recorder quartet;” International Recorder Prize. ments of three traditional sea songs for we thought it appropriate for an upper Wilson’s credentials are impres- recorder quintet: “Admiral Benbow,” intermediate consort’s encore. He also sive, but I feel that these arrangements “Tom Bowling” and “Swansea Town.” tells us that it is a fun piece (it is!) that of “well-known folk songs” should A short description of each song is could benefit from “liberties” added by only be attempted by his own or a provided. A Girl in every Port is a suite the performers. Challenges include the comparable consort. “Ca the Yowes” of sea songs: “A-Roving,” “Spanish rhythms that may be unfamiliar to (Call the ewes), attributed to Robert Ladies” and “The Mermaid.” some players and that are often differ- Burns, is the only arrangement Our consort found the arrange- ent in each voice. There are also fast- appropriate for the average consort. ments in both collections enjoyable and moving 16ths in the three upper parts. Also attributed to Burns,“Brose playable at first reading; they held our The soprano is asked to set the and Butter” (brose = oatmeal with hot interest in subsequent play-throughs. rhythm in the first few measures by water) has the tenor playing low E for- The parts, all with comfortable ranges, snapping his/her fingers. We felt that ever with “flz,” which I assume means are clearly printed and have quick, but an appropriate Latin percussion instru- flutter-tongue, on single isolated fast- negotiable, page turns. ment might be more effective, and that moving eighths. The second alto is  No voice has a dull part and each it should be played for the whole piece. blessed with measures of low F , and  is given a crack at the melody. The the first alto screeches high F and G.

www.AmericanRecorder.org September 2009 43 “The Deil amang the Tailors” Classified CONSIDER ADVERTISING IN (The Devil among the Tailors) is a ______popular fiddle tune that seems to have ______some connection with the game of ______skittles. It has quite monotonous, ______Full page ...... $552 although somewhat demanding, parts 2/3 page ...... $439 Where the haves 1/2 page ...... $366 for the lower three voices, which 1/3 page ...... $286 successfully obscure the melody. and have-nots 1/4 page ...... $223 1/6 page ...... $175 Wilson asks all voices to “leak of the recorder world 1/8 page ...... $127 air” in many places, suggesting that 1/12 page...... $ 95 1 column inch ...... $ 58 “players should blow across the top of can find each other Prices include web site/e-mail link directly the recorder or allow air to escape from your ad in the online AR at from the sides of the mouth.” He pro- FOR SALE: Boudreau Alto Bressan recorder, www.americanrecorder.org. Boxwood, A415. Excellent condition. vides special fingerings for this effect, Above average tone. $1300. Pictures Circulation: Includes the membership of the ARS, libraries, and music organizations. which our consort did not find to be http://home.comcast.net/~sesquialtera/ alto.html. Call 503-384-8650, PST. Published five times per year: effective! The song screams to an end January, March, May, September, November. SEND IDEAS for articles on education topics, with frightening final notes for all. or submit an article or lesson plans, to Reservation Deadlines: Bill Rees is music director of the education department editor Mary Halverson December 1 (January), February 1 (March) , Waldo at [email protected]. April 1 (May), August 1 (September), Bella Vista (AR) Recorder Consort . October 1 (November). Prior to retirement he taught woodwinds COMPACT DISC reviewers for AR needed. Reviews must be submitted by e-mail or on disk. Rates good through November 2009. Please inquire about discounts on multiple-issue and music education at East Texas State Please send a brief bio with a list of the types contracts, inserts, or other special requests. University (now Texas A&M at of music you are interested in reviewing to Tom Extra charges for typesetting, layout, half- Bickley, [email protected]. Commerce). He has been active in the tones, and size alterations. 133-line screen recommended. Advertising subject to MUSIC REVIEWERS for AR needed. Reviews must recorder movement since the ’60s and be submitted by e-mail or on disk. Please send a brief acceptance by magazine. First-time adver- served on the ARS Board. bio with a list of the types of music you are interest- tisers must include payment with order. ed in reviewing to Sue Groskreutz, 1949 West Court For more information, contact the St., Kankakee, IL 60901, or suegroskreutz@ KEY: rec=recorder; S’o=sopranino; ARS office, 1129 Ruth Drive, St. Louis, comcast.net. MO 63122-1019; 800-491-9588 toll free; S=soprano; A=alto; T=tenor; B=bass; 314-966-4082 phone; 314-966-4649 fax gB=great bass; cB= contra bass; Tr= [email protected] treble; qrt=quartet; pf=piano; fwd= foreword; opt=optional; perc=percussion; Classified rate for American Recorder: 60¢ Advertiser Index pp=pages; sc=score; pt(s)=part(s); per word, ten-word minimum. “FOR SALE” kbd=keyboard; bc=basso continuo; AMERICAN ORFF-SCHULWERK ASSN...... 30 hc=harpsichord; P&H=postage and and “WANTED” may be included in the AMERICAN RECORDER SOCIETY ...... 17, 31, 32 handling. Multiple reviews by one reviewer copy without counting. Zip code is one are followed by that reviewer’s name. STEPHAN BLEZINGER ...... 32 Publications can be purchased from ARS word; phone, e-mail, or web page is two. JEAN-LUC BOUDREAU...... 24, 29 Business Members, your local music store, Payment must accompany copy. Deadlines COURTLY MUSIC UNLIMITED...... 13 or directly through some distributors . Please are one month before issue date. Send copy EARLY MUSIC AMERICA ...... 3 submit music for review to: Sue Groskreutz, HONEYSUCKLE MUSIC ...... 13 1949 West Court St., Kankakee, IL 60901 with payment to: ARS, 1129 Ruth Drive, U.S., [email protected]. St. Louis, MO 63122-1019. BILL LAZAR’S EARLY MUSIC ...... 33 KEITH E. LORAINE EARLY DOUBLE REED SERVICE . . 39 AMERICAN RECORDER (ISSN: 0003-0724), 1129 Ruth Dr., St. Louis, MO 63122-1019, is published LOST IN TIME PRESS...... 11 bimonthly (January, March, May, September and November) for its members by the American MAGNAMUSIC DISTRIBUTORS ...... BC Recorder Society, Inc. $20 of the annual $45 U.S. membership dues in the ARS is for a subscription to American Recorder. Articles, reviews and letters to the editor reflect the viewpoint of their individ- MOECK VERLAG ...... IFC ual authors. Their appearance in this magazine does not imply official endorsement by the ARS. MOLLENHAUER RECORDERS ...... IBC

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