september 2003 Published by the American Recorder Society, Vol. XLIV, No. 4 Vol. American Recorder Society, by the Published A Flanders Recorder Quartet Guide for Recorder Players and Teachers
BART SPANHOVE With a historical Chapter by DAVID LASOCKI
The purpose of this book is to help recorder players become better ensemble members. Bart Spanhove has written the book in response to numerous requests from both amateurs and professionals to set down some practical suggestions based on his own experience and thereby fill a long-felt gap in the literature Alamire Music Publishers about the recorder. Toekomstlaan 5B, BE-3910 Neerpelt Price: 22,06 Euro T. +32 11 610 510 Orders can be placed at F. +32 11 610 511 www.alamire.com [email protected]
EDITOR’S ______NOTE ______Volume XLIV, Number 4 September 2003
There are some great quotes about FEATURES dreams. I read through a number of them Such Stuff as Dreams are made on ...... 12 as I was thinking about a headline for this An interview with Adriana Breukink, issue’s interview with Adriana Breukink, by Sheila Newbery maker of Dream recorders (page 12). Arranging a 19th Century Scottish I ended up using part of a quote from Melody for SAT Recorders...... 18 Act IV of William Shakespeare’s play, The 4 The tenth in a series of articles by composers and arrangers Tempest, when the magician/philosopher discussing how they write and arrange music for recorder, Prospero suddenly starts, and interrupts a by June R. Swiger graceful dance of nymphs, delivering a speech comparing those revels to visions produced by dreams. DEPARTMENTS There were the expected quotes ex- Advertiser Index ...... 40 tolling self-motivation or expounding po- Book Reviews ...... 38 litical ideas. Some that I liked are too long 8 and/or couldn’t be excerpted well, such as: Chapters & Consorts ...... 34 “A dreamer is one who can only find his Classified ...... 40 way by moonlight.” (Oscar Wilde) “Reach high, for the stars lie hidden in Music Reviews...... 26 your soul. Dream deep, for every dream On the Cutting Edge...... 24 precedes the goal.” (Pamela Vaull Starr) President’s Message ...... 3 “I always have to dream up there against the stars. If I don’t dream I will Q&A ...... 22 12 make it, I won’t even get close.” (Henry J. Response ...... 23 Kaiser) Tidings ...... 4 It’s safe to say that years of dreaming, ON THE COVER: accompanied by action, led to David “Boy with recorder Awards: David Goldstein, Friedrich von Huene, Piffaro; by Francesco Maggiotto Goldstein receiving the Presidential (1750-1805), 2003 Boston Early Music Festival events reported; Special Honor Award from the ARS Museo del Settecento grant supports youth orchestra in UK; ensemble briefs (page 4); to the presentation by Early Mu- Veneziano, Ca’ sic America of the“Early Music Brings His- Rezzonico, Venice, Italy tory Alive” Award to Piffaro, The Renais- © Art Resource/NY sance Band (page 5); and to the honor be- stowed on Friedrich von Huene, winner of the Curt Sachs Award of the American GAIL NICKLESS, Editor Musical Instrument Society (page 6). Contributing Editors Another quote, familiar to someone FRANCES BLAKER, Beginners; JOHN H. BURKHALTER III, Book Reviews who played in the pit of Broadway shows THOMAS CIRTIN, Compact Disc Reviews;CONSTANCE M. PRIMUS, Music Reviews at various times, was from the song Happy CAROLYN PESKIN, Q & A; TIMOTHY BROEGE, 20th-Century Performance Talk in Oscar Hammerstein’s South Pacific: LISA SCHMIDT, Design Consultant “You gotta have a dream, if you don’t have Advisory Board a dream, how are you going to make a Martha Bixler • Valerie Horst • David Lasocki dream come true?” Bob Marvin • Howard Schott • Thomas Prescott • Catherine Turocy Earlier in that song is the phrase, “Talk Kenneth Wollitz about things you like to do”—and Copyright © 2003 American Recorder Society, Inc. chapters were happy to do just that, when AR On-Line writing in about their 2003 Play-the- Visit at
ALABAMA ILLINOIS Long Island: Margaret H. Brown Birmingham: Janice Williams Chicago: Kim Katulka (708-484-4578) (516-765-1867) (205-870-7443) Chicago-West Suburban: New York City: Michael Zumoff ARIZONA Christopher Culp (630-690-7304) (212-662-2946) AMERICAN Rochester: Frank Amato Phoenix: Donald Harrington LOUISIANA (602-956-1344) (716-225-6808) Baton Rouge: John Waite RECORDER Tucson: Scott Mason (520-721-0846) Rockland: Lorraine Schiller (225-925-0502) (845-429-8340) ARKANSAS SOCIETY New Orleans: Chris Alderman Westchester: Carol B. Leibman Aeolus Konsort: Don Wold INC (504-862-0969) (914-241-3381) . (501-666-2787) Honorary President Bella Vista: Barbara McCoy MARYLAND NORTH CAROLINA ERICH KATZ (1900-1973) (479-855-6477) Northern Maryland: Dawn Culbertson Triangle: Cindy Osborne Honorary Vice President CALIFORNIA (410-235-2354) (919-851-1080) WINIFRED JAEGER Central Coast: MASSACHUSETTS OHIO Statement of Purpose Margery Seid (805-474-8538) Boston: Laura Conrad (617-661-8097) East Bay: Kathy Cochran Greater Cleveland: Edith Yerger The mission of the American Recorder Society is Recorders/Early Music Metro-West (440-826-0716) (510-483-8675) Boston: Sheila Beardslee to promote the recorder and its music by Monterey Bay: Sandy Ferguson Toledo: Marilyn Perlmutter developing resources and standards to help (831-462-0286) (978-263-9926) (419-531-6259) North Coast: Kathleen Kinkela-Love Worcester Hills: Madeline Browning people of all ages and ability levels to play and OREGON study the recorder, presenting the instrument (707-822-8835) (508-842-5490) Oregon Coast: Corlu Collier to new constituencies, encouraging increased Orange County: Doris Leffingwell MICHIGAN (949-494-9675) (541-265-5910) career opportunities for professional recorder Sacramento: Robert Foster Ann Arbor: Bill White PENNSYLVANIA performers and teachers, and enabling and (916-391-7520) or (734-668-7120) supporting recorder playing as a shared Elsa Morrison (916-929-6001) Kalamazoo: Wade Lawrence Philadelphia: Dody Magaziner social experience. Besides this journal, San Diego County: Richard Chang (269-353-9885) (215-886-2241) or ARS publishes a newsletter, a personal study (760-726-8699) Metropolitan Detroit: Joanne Ford (215-844-8054) program, a directory, and special musical San Francisco: Florence Kress Claudia Novitzsky (248-548-5668) Pittsburgh: Helen Thornton editions. Society members gather and play (415-731-9709) Northwinds Recorder Society: (412-781-6321) South Bay: Joanna Woodrow together at chapter meetings, weekend and Janet Smith (231-347-1056) RHODE ISLAND (408-266-3993) Western Michigan: Marge Winter summer workshops, and many ARS-sponsored Southern California: Lynne Snead Rhode Island: David Bojar (231-744-1703) events throughout the year. In 2000, the (661-254-7922) (401-944-3395) Society entered its seventh decade of COLORADO MINNESOTA TENNESSEE service to its constituents. Twin Cities: Jean Fagerstrom Boulder: Rose Marie Terada Greater Knoxville: Ann Stierli (612-722-4967) Board of Directors (303-666-4307) (865-637-6179) Alan Karass, President; Chair, Fund-raising Colorado Springs: Jeanne LeClercq MISSOURI Nashville: Janet Epstein (719-473-0714) St. Louis: Norm Stoecker (615-297-2546) Carolyn Peskin, Vice President; Denver: Anne Chetham-Strode Chair, Scholarship; Co-Chair, Education (303-422-6677) (636-532-3255) TEXAS Marilyn Perlmutter, Secretary Fort Collins: Roselyn Dailey NEVADA Austin: Susan Page (512-467-7520) Ann Stickney, Treasurer; Chair, Finance (970-282-1097) Sierra Early Music Society: Dallas: Bill Patterson (214-696-4892) John Nelson, Asst. Secretary; Chair, Publications CONNECTICUT Karlene Dickey (775-832-9124) Rio Grande: Joyce Henry Kathy Sherrick, Asst. Treasurer Connecticut: Dorothy Vining (505-522-4178) Rebecca Arkenberg NEW HAMPSHIRE (203-267-6513) VERMONT Frances Blaker, Chair, Eastern Connecticut: Joyce Goldberg Monadnock: Barbara George Special Events/Professional Outreach (860-442-8490) (802-257-1467) Upper Valley: Barbara Prescott Upper Valley: Barbara Prescott (603-643-6442) Richard Carbone, Chair, Chapters & Consorts DISTRICT OF COLUMBIA (603-643-6442) Sheila M. Fernekes, Co-Chair, Education Washington: Myrl Powell VIRGINIA Sue Roessel, Chair, Membership (301-587-4799) or NEW JERSEY Northern Virginia: Edward Friedler Kathryn Cochran Jane Takeuchi Udelson Bergen County: Mary Comins (703-425-1324) (703-369-3022) János Ungváry (201-489-5695) WASHINGTON Navesink: Lori Goldschmidt Priscilla Winslow, Counsel DELAWARE Moss Bay: Gerrity Shupe (732-922-2750) Brandywine: Roger Matsumoto (425-820-2003) Princeton: Janice Arrowsmith Staff (302-731-1430) Seattle: Belinda Frazier Brock Erickson, Executive Director (609-883-9874) FLORIDA (206-522-7342) Renee Baier, Exec. Asst./Membership Secretary Somerset Hills: Keith Bernstein Gainesville: Russell D. Moore WISCONSIN P. O. Box 631 (352-378-0567) (908-722-6572) Milwaukee: Diane Kuntzelman Littleton, CO 80160-0631 U.S.A. Miami: Zulema Garraffo NEW MEXICO (305-374-1879) (414-654-6685) 303-347-1120 Albuquerque: Lois Ario Sarasota: Valerie Sizemore Southern Wisconsin: Margaret Asquith Faxes & membership questions: (505-881-1303) (941-484-9589) (608-233-4441) 303-347-1181, Rio Grande: Joyce Henry GEORGIA
6 American Recorder PRESIDENT’S ______MESSAGE ______Meeting the Many Faces of ARS
n June, I was fortunate to be able to I also met some young members: that the recorder takes Ispend some time at the Boston Early teenagers and young adults who have dis- in the next decade. It Music Festival (BEMF). Most of my time covered the joys of recorder playing. For is important that all was spent at the exhibits in the Radisson these younger players, their sense of ex- their voices be heard. Hotel, not only staffing the ARS table, but citement about what BEMF offers during Wishing you a also walking around the booths and talk- this one week is no less than the sense of music-filled autumn, ing to people. I met amateur and profes- amazement experienced by people who sional players, teachers, instrument mak- have been around for a while, when they Alan Karass, ARS President ers, retailers, concert organizers, festival see how the early music world has devel- administrators, and even some individuals oped over the past 25 years. who did not know much about early mu- After BEMF, I left for a two-week vaca- sic but were curious and wanted to find tion in Ireland. It was a wonderful trip, out what BEMF is all about. filled with beautiful landscapes, wonder- Both in and out of the exhibits, I met ful people, great food, and several pints of many ARS members. Some people recog- Guinness. nized me because of the picture next to my I have always enjoyed traditional Irish column; others learned of my affiliation music, and spent some time thinking with the organization after we had been about its recent revival. Traditional Irish talking for a while. music has been able to flourish over the In any event, I gained the most enjoy- past 50 years because people of all ages ment from finding out what types of peo- have had a vested interest in keeping the ple are members, and listening to their sto- tradition alive. The music is an evolving art ries about their involvement with the form; its roots are not forgotten, but the recorder. music is not stagnant either. There is no One gentleman I met at the exhibits doubt that the tradition will live on. stopped by the booth several times. On his first visit he introduced himself, and a friend, and talked about his adventures as I gained the most an amateur player. During his second visit enjoyment from finding he gave me a postcard he received, post- out what types of people marked January 6, 1952, sent to remind members of the upcoming meeting of the are members, and American Recorder Society at the Nathan listening to their stories Straus Library in New York City later that about their involvement month. It is remarkable that ARS used to be able to send out a notice to its members with the recorder. like that, and to hold its regular meetings in New York. I am also sure that he is not There is no doubt that early music in Honeysuckle Music the only person who has been an active America will live on as well. Some scholars member for over 50 years. and performers have speculated about the Recorders & accessories Another ARS member I met for the first future of early music in America. The ac- ... time was spending the week in Boston, ac- tivities and trends in the concert hall, aca- companied by a friend as well as her demia, and the marketplace all influence Music for recorders & viols recorder teacher. She had been playing the our tastes and ideas. recorder for only a few years, and in that I hope that some portion of the future Jean Allison Olson time had advanced from a beginning play- of the recorder in America is in the hands 1604 Portland Ave. er to an experienced “high-intermediate” of the people like those I met at BEMF. The St. Paul, MN 55104 amateur. Not only had she discovered the young, the young-at-heart, the profession- 651.644.8545 thrills of ensemble playing, but also the al, the scholar, and the amateur—all have [email protected] very social world of recorder players. very valuable things to add to the direction
September 2003 7 ______TIDINGS ______There was a man chosen by the Board, for a Special Honor Award; other awards presented to Piffaro and Friedrich von Huene Composer David Goldstein Honored by American Recorder Society The American Recorder Society has pre- town, MA). Newman was teaching in the sented David Goldstein with its 2003 Columbia University graduate school, Two Limericks Presidential Special Honor Award. where he was starting a class in recorder. by David Goldstein This award recognizes Mr. Goldstein’s tire- Newman helped Goldstein purchase a less efforts to promote the recorder and its tenor recorder, which appealed to him be- music. cause playing a melody on it was similar to The next time I tell Goldstein was honored in absentia at a singing a melodic line. someone’s daughter reception held during the recent Boston He found that his particular niche in My hobby is playing recorder Early Music Festival in Boston, MA. Rep- writing music was for special occasions, or resentatives of the ARS, colleagues and in making arrangements that people could And she asks in reply guests gathered there to demonstrate their enjoy playing. Determining the instru- “Is it tape or Hi-Fi?” respect for Goldstein and their gratitude ment for which he would compose was of- The result will be to him for his many years of recorder ten a matter of what someone wanted; for justified slaughter. teaching, composing and mentoring of instance, his friend Gene Reichenthal other musicians. (now retired from directing the Long Is- The award certificate, prepared and land Recorder Festival) once requested read by ARS President Alan Karass, was pieces for bass recorder, so he wrote sever- Now tell me, later presented to Goldstein at his home in al works for that instrument. As a player of what shall we award her New York City, NY, by ARS Board member viola da gamba, he composed for that in- Who says to Richard Carbone (see certificate text at strument as well as recorders. right). Goldstein reminisced that he has al- whoe’er can afford her, Born June 24, 1918, Goldstein sang ways felt that his best piece was his setting “Oh, there’s nothing to’t, from the time he was a child (and later of the 23rd Psalm, written for gambist I’ve studied the flute sang professionally). After pursuing pre- Martha Bishop (who was at that time play- So of course I can med studies at the College of the City of ing Baroque oboe). His version for two New York in the early 1930s, in 1939 he recorders of that piece has also had an ac- teach the recorder.” earned his Bachelor of Science degree in tive life. music education there. He worked at the Goldstein’s music has appeared CCNY music department from 1939-41, at various times over the years in while earning a Master of Arts in music American Recorder—including a composition at Columbia University. In handwritten set of two dances pub- the early 1940s, he first taught school and lished in the fall 1970 issue of AR, directed a church choir in Wildrose, ND, the first piece of music published and then sang in a Broadway and touring for its members by the ARS. Two of production. He completed his pre-med his arrangements—of “Annie Lau- studies and then attended the Long Island rie” and “Little Brown Church in College of Medicine from 1945-49, going the Vale”—make up the fourth edi- straight from that into his pediatrics train- tion of the ARS Members’ Library, ing. He was a practicing pediatrician published in 1990 as Sentimental on Staten Island of New York City, from Songs. 1953-80, after which he retired from his (Parts of Goldstein’s biographical medical practice. background are adapted loosely from David Goldstein (seated) receives the ARS Goldstein remembers that he started an interview with him conducted by 2003 Presidential Special Honor Award to play the recorder after running into Joel Judith Davidoff, published in the Sep- from Richard Carbone. In the background Newman (proprietor since the 1950s of tember 2001 issue of the Viola da (upper left) is an abstract drawing created the Provincetown Bookshop in Province- Gamba Society of America News.) by Goldstein. (Photo by Richard Sacksteder)
8 American Recorder Piffaro Wins Award from Early Music America Early Music America (EMA), the serv- ice organization for the early music field, has announced the winners of its 2003 awards recognizing outstanding accom- plishments in early music. ARS 1996 Distinguished Achieve- Honored as the recipient of the “Ear- The American Recorder Society ment Award Winner Martha Bixler ly Music Brings History Alive” Award presents its (left) chats with Bostonian Charles was Piffaro, The Renaissance Band, Presidential Special Honor Award Wibiralske, while Anne Lowenthal co-directed by Joan Kimball and to: of New York City visits with ARS Robert Wiemkin. The award honors Executive Director Brock Erickson ensembles or individuals for excellence Our Friend, David Goldstein, M.D. (foreground). In the background is in educational outreach, as demonstrat- David Bojar of Cranston, RI. Composer and arranger of music, ed in early music school programs at the player of recorder and viola da elementary/secondary level. gamba, singer, teacher to Native Founded in 1980, Piffaro presents American children, creator of an annual concert series in Philadelphia, comic limericks, pediatrician, and PA, and also tours extensively through- caring human being: out the U.S. and Europe. Since 1985, the ensemble has presented school per- You have filled your fellow players formances—first as part of Young Audi- with your infectious love of life, ences of Eastern Pennsylvania and the generosity and good cheer. You Delaware State Arts Council Residency have shared with others your many Program, and then throughout the U.S. talents, your musical instruments, in conjunction with their concert tours. and your always-giving spirit. You The group created and published have gathered musical traditions “An Introduction to the Renaissance from old and new Jewish and Christian sources, from the Wind Band and its Instruments,” a valu- ragtime era, from Eastern and able supplementary resource for teach- Western Europe, and from all the ers and students. Americas. Most important of all, Recorder player David Giusti, a you have shared the bounty of your high school senior at The Washington heart with the recorder world. Waldorf School, was the recipient of an EMA scholarship to attend a summer June 14, 2003 early music workshop. Alan Karass, President Other awards presented by EMA Brock Erickson, Executive Director “Two Recorder Players” were the Howard Mayer Brown Award by New York City for lifetime achievement in the field of sculptor Charles early music, to Boston Camerata direc- Salerno, a longtime tor Joel Cohen; the Thomas Binkley friend of David Gold- Award for outstanding achievement in stein. Goldstein donated performance and scholarship, to Jeffery the figurine (above) to T. Kite-Powell, Chair of the Music His- the ARS. tory and Musicology Department at Florida State University; a special hon- Former ARS President orable mention for the “Early Music Gene Murrow (left) Brings History Alive” Award, to Boston- and current President based singer and instrumentalist David Alan Karass visit Coffin; and two additional summer during the reception honoring Goldstein. workshop scholarships to harpsi- (Photos on this page chordist Mahan Esfahani and Baroque courtesy of William oboist Curtis Foster. Stickney Photography)
September 2003 9 TIDINGS (cont.)
Friedrich von Huene receives AMIS Award The Board of Governors of the American Musical Instrument Society announced in their spring newslet- ter that they had voted unanimously to award the 2003 Curt Sachs Award to recorder maker Friedrich von Huene. He is being honored for his career as a leader in the revival of the manufacture and perform- ance of early woodwind instruments; for his leadership of the Boston (MA) Recorder Society and as a founder of the Boston Early Music Festival; and for his inspiration to generations of performers, students, instrument makers, and scholars who have benefitted from his knowledge, friendship and teaching. The American Musical Instrument Society (AMIS) is an international organization founded in 1971 to promote better understanding of all aspects of the history, design, construction, restoration, and usage of musical instruments in all cultures and from all periods. The membership of AMIS includes collectors, historians, curators, performers, instrument makers, restorers, dealers, conservators, teachers, students, and many institutional members. The Curt Sachs Award, named for one of the founders of the modern systematic study of musical instruments, was established by AMIS to honor those who have made important contributions toward the goals of the Society. The award may be made annually at the discretion of the Society's Board of Governors. It consists of a signed certificate that lists the recipient's contributions to the study of musical instruments. It is announced at the annual meeting of AMIS, and the recipient is invited to address the Society. Von Huene accepted the award during a joint meeting of AMIS with the Gilpin Society in Oxford, England, on August 3, during a formal dinner in Wadham College. Youth Recorder Orchestra Receives Grant Call for Recorder A new concept in orchestras is set to survive: a recorder orchestra for the most talented young players of the instrument in the United Kingdom, the National Youth Recorder Compositions Orchestra. The 14th Annual International Alliance The first-ever national orchestra for young recorder players was set up by the Society for Women in Music (IAWM) Concert, of Recorder Players in 2002. This year it has been awarded a grant of £16,000 by the Na- set for June 6, 2004, in Pasadena, CA, will tional Foundation for Youth Music, thus assuring its survival. feature a new work written for the Bel- In August, Haileybury School, Hertfordshire, resounded to the music of 65 young- gium Recorder Ensemble APSARA, a sters, playing sopranino to seven-foot-tall contrabass. The orchestra, under the baton of professional ensemble of four players. musical director Colin Touchin, gave a London concert in August at the Royal College The IAWM has issued a general call for of Music, with Piers Adams as guest soloist. He played “Groovy or What?”—specially scores world-wide for this competition. arranged for solo recorder and recorder orchestra by composer David Pugsley. Deadline is September 15. Composers must be IAWM members by the time of After rehearsal, NYRO members were herded out for score submission and be willing to renew photos. Anne Forbes, age 16, reports: “While standing the membership in the following year, if there a man came up to us at the back and enquired: they want to be considered for the con- “What is that thing you’ve got there?” “A recorder,” we cert. New members are welcome. replied in chorus, slightly nervously. “Oh,” said the Composers may submit an anony- man, “really?” and wandered off again, somewhat be- mous score for consideration, written for wildered. Many other people who happened to be there, up to four performers on recorders from picnicking on the grass, were so amazed at such a mass sopranino to contrabass in C. With the ex- of black T-shirted young recorder players that they got ception of the contra basses in F and C, out their cameras and started snapping. Next we multiples of a single recorder may also be walked down the steps to the bandstand in the grassy employed, as long as four performers are park area. As our section was waiting to be arranged on able to play the work. the stand another man from a wedding party came up to For complete information, please me and said: “You know, you’re so lucky. I’ve always see
10 American Recorder HEALING MUSES presents Bits & Pieces Fund-raising Concerts The non-profit organization Healing Muses has an- The Baltimore Consort was engaged for a concert and workshop at the nounced a partnership with the concert series Lutheran Summer Music Academy & Festival during July in Decorah, IA, Hausmusik to present a series of fund-raising con- marking their first appearance at the Academy & Festival. certs at St. Alban’s Episcopal Church in Albany, CA. Tempesta di Mare, Philadelphia’s newest Baroque orchestra, made its Healing Muses, founded and directed by ARS debut broadcast on the “Sunday Showcase” of radio station WHYY in member Eileen Hadidian, was formed to bring Philadelphia, PA, on July 6. Led by artistic directors Gwyn Roberts and soothing music to hospitals, clinics, convalescent Richard Stone, Tempesta di Mare is the first Baroque ensemble selected to homes, retreat centers and homebound individuals. join the show’s roster, which includes the Philadelphia Orchestra, Opera It began as a pilot project in 1999 at Kaiser Perma- Company of Philadelphia, and Curtis Institute. The two-hour program fea- nente Hospital in Oakland, CA, when Hadidian, a tured performances from Tempesta di Mare’s inaugural Greater Philadel- flute and recorder player, joined with harpist Natal- phia Concert Series, including G. F. Handel’s Apollo and Daphne, J.S. Bach’s ie Cox, and later Celtic harpist Maureen Brennan, Trio Sonata in G, a world premiere of Silvius Weiss’s Concerto Grosso for to play on the surgery, medical and intensive care flute, violin, gamba, lute, ’cello and strings (now nearly three centuries old) floors, and in the hospital lobby. and Johann Gottlieb Janitsch’s Quadro in G. Using Medieval, Renaissance and Celtic music, Earlier, on a May WHYY broadcast of “Radio Times,” Roberts and Stone as well as “crossover” repertoire from other cultures, were interviewed and played instruments live. The show also included Healing Muses creates a peaceful sound environ- recorded highlights from Tempesta di Mare’s series. ment to promote relaxation and reduce anxiety dur- Carolina Baroque’s recording of G. F. Handel’s Acis and Galatea was ing stressful hospital stays and procedures. The pro- broadcast on the “Carolina Live!” series of Davidson College, a series spot- gram has been praised by doctors, hospital staff and lighting outstanding professional groups in North Carolina. (That recording patients at facilities where it has performed, as well is part of a two-disk set, “Viva Voce! Two Mini-Operas by Handel,” available as by the early music community. through the ARS CD Club.) Healing Muses began as a project of Hausmusik, The group’s upcoming three-concert “Salisbury Handel Festival” series a concert series founded by Hadidian 16 years ago to includes an October program entitled “Telemann and His Friends, Bach and showcase local performers in new and innovative Handel;” a February 2004 offering of “Handel and His Peers;” and a closing programs. This year the two projects join forces, to concert in April 2004, “Music for Two Sopranos and Chamber Music by continue bringing quality early music concerts to the Handel.” Dale Higbee is recorderist and director of the Carolina Baroque, Bay Area community while raising public awareness and can be contacted at
September 2003 11 Daphna Mor during a performance by The Telemann Ensemble ______TIDINGS (Photos ______in BEMF ______coverage ______by William Sights and sounds of the Stickney) Boston (MA) Early Music Festival, June 9-15 This is not your father’s old music. The concert was perhaps indicative of semi-staged Il Pastor Fido (The Faithful While early music retains the endear- other parts of the festival—even when a Shepherd) by Battista Guarini was set to ing qualities that drew many of us to it— program didn’t involve recorder, there music of early Italian Baroque composers the nuances and subtle timbre usage, the was usually another similar instrument and carried the packed house back to ideas of embellishment and improvisa- of interest to recorderphiles. mythical Arcadia. Laura Thompson, tion, even just the unmistakable feeling Certainly that was the case with Ari- flute, and Jim Miller, cornetto, were at that the music sounds “right” on instru- adne, a Baroque opera composed by Jo- their best when trading phrases or play- ments fashioned after those of its own hann Georg Conradi. Its performances, ing in sonorous thirds. time period—there has been an infusion June 9-15 at the newly-renovated and To hear the next program, by Pip- of vitality by groups like REBEL that con- glorious-sounding Emerson Majestic istrelli, required a “T” ride to St. Ann tradicts any lingering ideas of stuffiness. Theater, were the centerpiece of the Fes- University Parish, an echoey small Such was the case during the June 15 tival. Members of its period orchestra, all church near New England Conservatory. performance by REBEL, with recorderist virtuosos on their instruments, made im- The principal player on that program of Matthias Maute, near the end of the pressive music. The well-cast singers en- Bach and Telemann was recorderist Kara Boston Early Music Festival (BEMF). acted their roles and sang deliciously, Ciezki, who first appeared in AR in a While the group has an excellent record- making for a thrilling experience to hear March 2000 announcement as winner of ing (available through the ARS CD Club) and see this “new-to-us” opera. the Fred Morgan Memorial Prize of the of the “Telemann alla Polacca” program Early in the week, before reviewers ar- Third National Recorder Competition in offered that day, it’s hard to reproduce rived on the scene, RENAISSONICS her native Australia. Having recently the vibrant ensemble sounds and energy (with John Tyson, recorder, pipe and ta- earned her Master of Music at NEC as a apparent in good live acoustics. bor) offered a June 11 program combin- student of Aldo Abreu, she exhibited a If there was a fault to the program, at ing music with Renaissance dance and self-assured stage presence and con- least for recorder players, it was the num- theater. That afternoon brought another trolled approach to fast sections. The one ber of pieces on which Maute played tra- early-riser, Acme Baroque, whose plan jarring element was the program’s use of verso rather than recorder. However, for had been to reprise its earlier Boston more modern instruments than early—a anyone there to enjoy the sounds of the program entitled “Acme Baroque Does silver flutist, violins, ’cellist and string period, having to wait until the last piece BWV, TWV, HWV—No MTV, No Wigs.” bass joined recorder and harpsichord. (and the ensuing encores) for the Illness of the group’s vocalist caused Even played well by the young group, recorder to take the spotlight certainly recorderist Margaret Cushing to make balance problems were inevitable (as wasn’t a chore. The ensemble playing— substitutions only days before BEMF, shown in the tutti Concerto in E Minor for by high string players Jörg-Michael modifying the earlier program of J.S. Flute and Recorder by Telemann). Schwarz, Karen Marie Marmer and Risa Bach, Telemann and Handel. Another mid-afternoon concert, by Browder, ’cellist John Moran, double With the June 12 arrival of more trav- Fort Worth Early Music, included a fa- bassist Anne Trout, and harpsichordist elers, Amphion’s Lyre gave a wonderful vorite piece in the Sonata in Dongsok Shin—was full and rich, with performance that drew a much larger au- E Minor, Op. 34, No. 3, of numerous contrasts even on softer pas- dience than expected. Elaine Black- Joseph Bodin de Boismorti- sages. The addition of Maute, whether on ford’s masterful Baroque flute playing, er. The emotions through- flute or recorder, was icing on the cake. in a program of 17th- and 18th-century out the piece were perfectly When the Suite in E for flûte pas- German instrumental music, quieted captured by the combina- torelle and strings arrived on the pro- even those who could only find space on tion of Baroque flute (Lee gram, Maute entered with no instrument window ledges and the floor. Lattimore), recorder (Sara apparent—but soon deftly producing a Listing a Renaissance flute and cor- Funkhouser), Baroque vio- tiny recorder from his sleeve. The suite is netto (possibly with recorders), along lin (Kristin Van Cleve, not almost concerto-like, except that the with numerous early harps, gamba, theo- visible in photo at right), phrases are short and often birdlike, rbo, lute and guitar, the program of the and Baroque bassoon mixed with phrases showcasing tech- New York Continuo Collective beck- (Kevin Hall). nique—all of which appeared effortless oned at mid-day. It was not a disappoint- Jordan Hall concerts kept Festival as Maute played. At the end, the half-full ment, as the sound of 17 voices plus the recorder enthusiasts busy that evening: a house gave a standing ovation requiring numerous instrumentalists, all directed pairing of the Newberry Consort and three bows and an encore: a sneak peak by Grant Herreid, soared before the Piffaro, The Renaissance Band, fol- at the ensemble’s new Vivaldi CD. Fol- stained glass windows at Gordon Chapel lowed by the Ariadne Baroque Orches- lowing another standing ovation, REBEL of Old South Church. The “opera lite” tra’s “Lustiger Mischmasch.” offered another Vivaldi movement. version of the Collective’s spring 2003 The Newberry/Piffaro concert of Ger-
12 American Recorder man works ran the full gamut from mes- doesn’t have to be stuffy, the program’s merizing solo tenor or soprano voice to numerous harpsichord moves showed bagpipe quartet (in tune!) to full-ensem- that always being historically-correct can ble works using viols, lute, recorders, slow down a program. An audience shawms, sackbut, percussion and more member was heard to muse that, even early instruments—all well-played, with a variety of harpsichords available, it pleasing the two-thirds-full house that didn’t mean that every one had to be applauded through double bows. Of par- used! Program flow would have been im- ticular interest to recorder players was proved if compromises had been made to the “Tandernak” set—pieces based on use fewer harpsichords or to rearrange Sheena Phillips, each playing recorder the Dutch folk tune, introduced in a duo the order to require fewer moves. and other instruments) offered early setting played by Baroque violinist The morning of June 13 began early 17th-century Polish music in “Lukasz David Douglass and gambist Mary with an ARS roundtable on “Composing and Elzbieta at the Kraków Faire.” Springfels, followed by an SATB and Arranging for the Recorder,” with The lunch-time concert buffet contin- recorder version (marvelously set by panelists Martha Bixler, Matthias ued with the North Atlantic Recorder Ludwig Senfl) played by Piffaro mem- Maute, Ken Andresen, and moderator Quartet (Roy Sansom, Tom Zajac, bers, then a tenor recorder/violin/gamba Timothy Broege. A group of a dozen Majbritt Christensen, James Young, version leading to another Senfl setting, participated in a lively discussion of sev- l to r above), playing a hodge-podge of this time for five recorders. eral key issues—one being the need to pieces that the four expert players obvi- A few more Festival-goers gathered for educate all composers about the many ously enjoyed, on an eclectic variety of the later concert featuring guest soloists capabilities of our instrument and thus instruments (plastic included)—with such as recorderist Matthias Maute produce quality works. To the question audience-pleasing results. The program with the Ariadne Baroque Orchestra. of how to commission a piece, Broege included some very effective arrange- Noting the confusion of the program stressed that many composers are open ments by Sansom, including the “Bag- printing, which billed him as playing to either new compositions or arrange- pipe” from Béla Bartók’s Mikrokosmos recorder in the heading but listed him ments, at negotiable fees, and that they (where it was fun to be in on the joke as with traverso in the program order for appreciate having a dialog with the com- Zajac, an accomplished bagpipe player, Telemann’s Concerto in E Minor for missioning entity—which should be imitated on the bass recorder Bartok’s Recorder, Transverse Flute, Strings and open to fresh ideas that will allow the piano imitation of a bagpipe). Continuo, Maute mentioned the difficul- recorder to continue to have a vibrant The afternoon continued as Early Mu- ty deciding which instrument he and co- repertoire (unlike some instruments, sic Vermont’s Celestial Sirens, a 13- soloist Michael Lynn would play, since where players only want rehashes of ex- member vocal and instrumental ensem- they both play both instruments. The re- isting music). ble, gave a fascinating program (repeated sult matched Maute’s virtuosic recorder After the late-morning ARS Reception on Saturday), focusing on music by with Lynn’s sonorous flute. Maute was honoring David Goldstein, recipient of women composers and music extolling obviously having fun on this crowd- the ARS Presidential Special Honor womanhood. The versatile ensemble pleasing piece, turning to the orchestra Award (see page 4), another lunchtime presented a variety of sacred and secular to urge them on in the closing Presto. set of concerts kept reviewers on the run. music from the Medieval, Renaissance, Fun was also the watch-word in an Renaissance flutist Holly Mentzer and Baroque eras interspersed with read- earlier set of “Exotic movements from had e-mailed beforehand that the ings from Frauenleich, a mystical poem Telemann Ouvertures.” The orchestra flute/cornetto duets she would play with written by a 13th-century minnesinger in started a Polon- Jim Miller as Infiorare would be “awe- praise of womanhood. Also on the pro- aise in lacklus- some”—and they were. The instruments gram were two instrumental pieces, un- ter fashion— blended well, and the duo phrased and related to the womanhood theme, in- after which vio- pushed the momentum as one in the cluding a sonata by Benedetto Marcello, linist Milos anonymous 13th-century Petrone. deftly performed by Chapin Kaynor Valent leapt up Saltarello (Sarah Cantor, recorder) Judy from his chair, introduced listeners to additional 18th- Linsenberg singing the century members of an amazing family makes the melody to that produced over 70 musicians—J.S. rounds show how it Bach; his son C.P.E.; the cousin of J.S., in the should be Johann Bernhard; and J. Bernard’s son Exhibition done. The J. Ernst. The ensemble performed a live- revved-up or- ly, highly-contrapuntal trio sonata by J.S. chestra then played with more gusto. Be- Bach with seeming effortlessness and fore a later piece in the set, four orchestra shaped the graceful lines of a trio sonata members stood in their places, playing by C.P.E. Bach expressively. that tune in rousing street-musician style A “T” ride and hike led to a program before the orchestra version. that was more interesting than expertly- While the above showed that at least performed, as Quadrivium (Jennifer some historically-informed performance Bell, Grant Foster, Kevin Gustavson and
September 2003 13 recorderists provided a program encom- passing a variety of styles and genres. Jazz musician Steve Tapper opened the morning in a more contemplative vein than on past Relay programs, using no amplification this year. His best mo- ments were in two pieces to which he had added guitar chords: Promises by like an exotic, Roy Watrous, and the haunting Hassidic twisted antelope song Mi Ha-ish. horn, produced Playing unaccompanied pieces for al- a mellow sound. to, Frances Blaker’s program featured Meanwhile, her as both composer and performer. The “Schmaltz and crowd particularly liked the Gigue move- other Scheidt” ment of J. S. Bach’s BWV 1006 suite, imitated a pick- which had a flowing lilt despite its many up 17th century notes. Her closing self-composed piece orchestra, in- was a satisfying work in contrasts called cluding violin, Glass, Water, Mirrors, in which she used two well-played alternate fingerings to produce subtle dif- Relay participants recorders (Kathryn Montoya and Nico ferences, much as one would notice dif- (clockwise from Chaves), shawm, dulcian, viols, violone, ferences in the three title substances. upper left corner): harpsichord, and theorbo, offering Ger- The theme of Eric Haas’s segment Frances Blaker, man ensemble music in eclectic combi- paired a madrigal as composed with the Steve Tapper with nations—performed by students of embellishments of a different composer. guitarist Steve Wendy Gillespie at Indiana University. Very sonorous were the opening Kirby, Eric Haas and This concert was notable for its sound: Lachrime Pavan, in which the lute played lutenist Olav Chris who could have thought a shawm (ad- the Dowland original while Haas played Henriksen, Kara mittedly with a towel stuffed in its bell) Johann Schop’s divisions (on a Ralph Ciezki (profile) and could sound as delicate and sweet as an Netsch G Ganassi alto); and a similar Sarah Cantor oboe? or knew that a bass dulcian, played pairing for Oncques amour of Thomas with a delightful verve, could sound so Crecquillon and Giovanni Bassano. (sopranino recorder) exciting? The enthusiasm of these young Kara Ciezki, heard earlier in a cham- and Lynnette Combs (harpsichord). performers made the gloomy Church of ber music concert, took the stage alone Kaynor, the ensemble’s wind player, also the Covenant an exciting place to be on a on the Relay. Buffering the mellow madri- doubled vocal lines in several Renais- rainy afternoon. gal sounds preceding, she opened with sance pieces on other recorders and Saturday, June 14, was off to another the nuances of the chestnut “D’oen cornemuse and, in a ninth-century early start with the Eleventh Annual Daphne” from Der Fluyten Lusthof of Ja- Byzantine chant, played a “kelp horn” ARS Great Recorder Relay, a series of cob van Eyck, moving afterwards into that he had made from dried seaweed, fit- vignette recitals by professional recorder two convincingly-played works by living ted with a French-horn mouthpiece. This soloists and groups. Playing under a half- composers. Her shakuhachi slides and curious instrument, which looked much dome in historic St. Paul’s Cathedral, five continued on page 33 Baroque Chamber Music Play-Along CDs! with Music and Performance Guides for Recorder Players Courtly Music Hours of playing and Pre★DiscContinuo enjoyment with early Early Intermediate music specialists Handel, Lully, Purcell, Corelli, Unlimited Consort Music of Lassus, Dowland, “Seldom will any of us get to be Arcadelt & more accompanied by such fine players!” 800-2-RICHIE “This is how practice The DiscContinuo should be!” Intermediate (800 274-2443) “...Best of all, they pick the most Telemann, Marais, Handel, Frescobaldi & even more www.courtlymusic.com EXCELLENT music! DiscContinuo II
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Sheila Newbery is a member of the SN. How many years have you been making already! [Laughs] I was so concentrated, ARS and an organizer for the Bay recorders? but I worked really, really slow. All the guys Area Recorder Series. She lives in AB. I think already 22 years now... more, I in my class, they already ruined some Berkeley, CA, with her husband, think; nearly 23 already. I started when I blocks and would be cutting wrong Silvio Levy, and 15-year-old son, entered my study at the Conservatory at things. But I was so slow and precise, I al- Rotterdam. I finished my Conservatory most never ruined something. I was so Andrew, a budding recorderist studies in `80. afraid to fail, I think. and composer. SN. What made you decide to build your first SN. Had you actually taken out blocks of recorder? recorders that you had, and worked on them? Recorder builder Adriana Breukink AB. I was curious about the process. I al- AB. Oh yeah, then I started, of course. I came to Berkeley in March 2002 to ready wanted to be a recorder maker when worked on blocks of colleagues or other perform with the Farallon Recorder I was 15, I think. And it always stayed students. Quartet in the inaugural year of the there—the idea that I wanted to be a SN. You didn’t find that nerve-wracking, to Bay Area Recorder Series, and to recorder maker. But I forgot it; when I take out the block that first time? give a participatory workshop on went to the Conservatory [at Rotterdam], AB. No, no, I always liked it. But I never recorder maintenance. While I was 16 and I had forgotten about it. had tools in my hand, not even at home. And then when I was 20, I went to The Nobody was making things. But the idea she was there, Sheila had the Hague to the Conservatory and there was that you could make this yourself, make opportunity to talk with a block-making class there. And that’s your own sound—and looking for it.... her about her work. what I really liked. Already after the first And then when I was 21, Fred Morgan lesson I made two blocks. came to The Netherlands, to Europe, to “Ms. Breukink told me that, SN. Who taught that class? measure instruments, and then Ricardo like recorder playing, the art of AB. That was Bruce Haynes and Ricardo Kanji organized this course where he was building is, at least superficially, Kanji. one year at the Conservatory with a work- straightforward. Yet as I learned SN. So you built blocks that you then put shop there. And then every Friday after- in the course of our conversation, into an existing recorder. noon, we made instruments together with AB. Yeah, new blocks. some other students. recorder making is demanding SN. And how did the recorder sound? SN. And that would be making the whole and complex when knowledge of AB. Oh, much better. I was very successful instrument? the wood is matched by a profound AB. The whole instru- understanding of the musician In 1980 at the Koninklijk Conservatory in The Hague. ment, yeah. First we who will play the instrument. In Standing (l to r): Peter van der Poel, Adriana Breukink, started making ream- Shige Hirao; sitting (l to r): Fred Morgan, Ricardo ers and borers, and this respect, the task becomes an Kanji and an unidentified colleague. exercise of the master builder’s learning to turn. It was imagination and refined critical a really nice atmos- judgment.” phere. SN. Were those Baroque instruments? The following is a transcription of AB. No, we started their conversation. with a Ganassi alto, a G alto. And I still have this instrument, I still play on it. It’s one of my best instruments. It’s the first instru- ment I made; it took me one month to by Sheila Newbery make it.
16 American Recorder SN. Did you work on it just when you were in make it. the workshop? SN. Do you develop confidence in your abili- When you make five of the AB. No, also at home. Because the cutting ty to get that sound out of a given piece of of the block, you could do it at home, wood right from the beginning, when you see same tenors—the same yeah. But it went very slow because we what kind of wood it is, what kind of grain it bore, the same voicing, were seven students, and then it took a lot is; or do you think to yourself, as you work on of time for everybody to have turned his the instrument, “Ah, yes, this one is going to the same block—all sound piece, and we were all waiting for each oth- be a special one’’ or “This one—maybe not er. It took months before we all had an in- quite what I want.’’ different. And I think strument. AB. When you start an instrument, then that’s the piece of wood. But it was so nice an atmosphere, be- you choose a sort of wood. You also try to cause by this waiting you learned very have the right hardness, or the right grain, much. You saw others, and Fred Morgan but you never can say in advance, will it was telling many things. I learned more work well. And you always have to look for the way of making instruments—what’s a voicing which fits to this piece of wood! important, how to think about it, how it Because when you make five of the same should sound. tenors—the same bore, the same voicing, SN. What sort of wood was that Ganassi? the same block—all sound different. And AB. That was a maple. And the block is al- I think that’s the piece of wood. Because ways a much softer wood. That was all wood is reacting different on the bore, cedar—Florida cedar, could be. on the knife, etc. It all can be interesting, SN. So if you have an existing instrument, but you have to choose the voicing that fits you can in fact take out the block, put in a to that piece of wood and work on it brand new block and have, for all intents and until it’s resonating. purposes, a new instrument? SN. When you say “choose the voicing,” I AB. A part—or 25% of the instrument; assume you mean that—there are steps in you can change the sound, etc., by the building a recorder, and, along the way, block. But in fact—you don’t need to you decide, “Well, maybe I’d better place make a new block. I never give courses this hole a little bit”— making new blocks. It’s nice, of course, for AB. No, no, it’s not that at all. The people to cut some wood, but it’s more, holes and the bore, they are about the like—amateur work, what you get then. same. That has to be tenths of a mil- It’s nice—er, therapy, no? limeter the same. When I have put a But many people don’t succeed. And block in, I think this and this has to be it’s only necessary to make a new block about so, and you must file it until it when it’s cracked. It’s a bit strange that looks nice. And then, after that, I’m they taught us to make new blocks. You starting to tune it and make it a really can change it with some tape, with some well-sounding instrument. glue, or changing the angle, or you can just But the first tones you play then, make it higher or lower. You don’t have to that’s really saying how the instrument make a new block. Only when it’s really will get. And then you have to make it rotten or worn out. And that’s only a few finer, finish it, and sometimes you real- percent of the cases. ly have to look for the right block— SN. When you started with that Ganassi how high the block is, or the windway, alto, did you already have a pretty well- or the chamfer [the slanted part an- developed sense of what kind of sound you gling into the windway]. That can work wanted from the various types of instru- different on all instruments. ments? SN. Walk me through a typical building AB. No, I was too young, I think. At that process of, let’s say, an alto recorder. What time I was so shy and unsure, and then I would be the first step, how would you made instruments that were much more proceed? A current shot of Adriana Breukink timid or softer in sound. Now I think it’s AB. The best is to buy a tree where you tuning a recorder at her worktable more open. Because you make instru- know where it has been growing! I do this ments how you are, of course—like for the subcontra basses and the sub-bass- artists. And that’s the most important es, because it’s hard to get wood in the thing, of course—that you know, you re- right measurement and the right quality. ally must have an idea of, what you want When it’s smaller, I just buy maple to hear. If you don’t have that, you cannot from Canada at a wood shop. And then
September 2003 17 you just buy SN. Do you find that the instruments change the wood in a lot in the first year of use? right meas- AB. No, not so much. They only get urements, stronger—the personality of what they and you had already from the first blowing. And of cut them course, the instrument takes the personal- in square ity from the person who’s playing on it pieces. Then very much. When you’re a strong player, you turn that will get a different instrument than them round when you only really want to have a softer, and they get resonating instrument. It’s very different. about, they SN. This leads to an interesting question: if look like a someone you know very well as a performer dough- calls and says, “Hey, make me a recorder,” do rolling thing, you think to yourself, “Well, this person plays you know? such and such a way”— And then AB. I know this exactly, yeah. When Mari- you bore on [Verbruggen] asked me to make some holes, and when it’s not dry, you have to low Dream sopranos and altos—low let it dry, of course—a few years for maple. pitch—then, I take a piece of wood and I For boxwood, it’s a totally other process, think, “This is how it has to be; it’s exact- because boxwood tends to bend always. ly what she likes.” So you have to turn and bore it years in ad- A few months ago,I made some Dream vance. altos in hardwood and then Paul Leen- When people buy an instrument, houts came and I thought, “When he when it’s a very dry winter or—here [in comes I know when he sees this and this California], it’s not freezing—but when instrument, he will fall in love with it.” you live in a country where it really And it’s true. He said, “Wow! I have to freezes, then it’s too dry (only in the sum- have this instrument.’’ I said, “Paul, in mer it’s dry also). And they bend, because fact, it’s ordered, but you can have it.’’ the tension in the wood changes. It’s so nice. That’s what I really like the And then you put the reamers in to most, yeah? To make an instrument for make the bore the right shape, because it’s someone who’s really playing very beauti- often conical. Then you turn the outside, fully and that it fits exactly what he likes to and then you put everything in oil, in a have. It’s like a muse—but only if it’s very bath— good players. When I think, “How is it SN. To soak up the oil? working, what should fit to this way of AB. To soak up the oil, yeah. blowing,” and when I really think of it, SN. And that’s before any sort of holes are— then I can make an instrument that’s real- AB. Yeah-yeah, and then you let them dry ly fitting. one week. SN. So if you make something for someone And then I make the windway, the that special, at what point do they come and ...it’s not always the most holes, etc., and the block. Then I play on it try it out? a bit, and then I put them back in the oil, AB. When it’s ready, I say “Here, it’s interesting instrument, so that the windway and the holes and ready!’’ Then sometimes they say, “Can everything get new oil, because where it’s you change this F, it’s too low or too high strangely enough. bored there’s no oil. And then I wait one for me,’’ and then I change it. more week. SN. And can you do that on the spot, or does Sometimes you have to Then I start to make a really finished in- that have to involve— strument, and that can take one hour, but AB. Oh, they come and pick it up, but work really hard to find it. often much more, and sometimes—an sometimes I see them somewhere, and I ideal instrument, you know, you think, give it to them at an exhibition—but often “Wow, this is what it has to be.” But it’s they come, because I only can do these not always the most interesting instru- revoicings in my own workshop. Yeah, I ment, strangely enough. Sometimes you can change some holes, but better not; it’s have to work really hard to find it, and better to do it in my own surroundings then [the less interesting ones] get to be and acoustics. good instruments also.
18 American Recorder SN. What are the considerations for building thing to the voicing, it already takes a few recorder consorts? How do you handle the minutes to get the instrument out—to tuning and which instrument do you build disassemble the pieces and [gesturing to Adriana with first? indicate the difficulty] take the block out. subcontra AB. I don’t make one first. I make them all. It’s really hard work. You get muscles from bass. Often when I have four orders for a it, really! [Laughs] I made two in Decem- recorder consort—four consort orders— ber. I had one worker with me; we started then I make eight tenors all together. I turn together in August, I think, and they were them in groups. And I just take, of the ready, these two, in December, so I was re- whole set, one soprano, two tenors, etc,. ally stronger. put them all in a row, put blocks in, and SN. It’s like going to the weight room? then I just start to play them all together, AB. Yeah-yeah. [Laughs] I don’t need to and then again and back, until I think, go! “This will fit.” It’s just playing, I don’t use SN. Apart from your work with Fred Morgan a machine. at the Conservatory, do you learn from other And I make them in one piece, also, so recorder makers’ work? that when somebody is really a strong AB. No. I was always too shy to ask. I was player, that’s not interesting, because you always trying to find it myself. I learned a have to mix them together, the sound. So lot in Fred Morgan’s course, but only in when one is a really strong player, he has the beginning. I think it’s a good way, just to play softer on a soprano, when it’s too to try to look for it yourself; then you real- high. ly understand what’s happening and it’s SN. Does that affect how you tune the instru- your own. Then you really understand ments? You tune the soprano a little bit— how it works, and what’s important. Al- AB. The soprano is a little bit softer than a though I still think that I’m really at the be- tenor or a bass, because when you play so- ginning...it’s so strange. prano too loud, it doesn’t mix to the other SN. That you’re still at the beginning of the harmonics of the tenor and the bass. process of learning? Adriana’s son Nelson SN. So you have to pick up the bass a little AB. Yeah-yeah! There are so many secrets (then age seven) also tried out her and tone down the soprano... still, which I don’t understand at all. And subcontra bass recorder. Both photos on this page were made in 1997 at AB. Yeah-yeah. Also, the way of tunings— then suddenly I think, “Oh—it’s that sim- a 150-year-old cemetery near the a B or an A—I tune it in between some ple!’’ Often it’s so simple, the solution. It’s family’s home in Enschede. mean tone and equal temperament, be- more simple than you expected. cause when you play consorts, you play You’re looking for too difficult solu- pure temperament. You don’t play harpsi- tions. chord temperaments, you don’t play SN. I know that some of your recorders mean tone, you play pure. And I make are based on museum models. I won- some in-between tunings because chords, dered if you ever been able to examine they have this third low, etc. But I don’t any of them closely? How did you ob- know this tuning, I just play it how I think serve the instruments? it will work. AB. Yeah, I’ve been working in The SN. How long does it take to build a big bass? Hague and Brussels very much. AB. A subcontra bass? And I went to Vienna, but I only had SN. The big one—the famous picture of drawings from Vienna. you... SN. Can you intuit from the draw- AB. Oh [Laughs], how long does it take? ings— When I only work on this instrument, AB. Yes—of course, every maker nothing else, the subcontra bass is one- makes another instrument from the and-one-half months of work, I think. It’s drawings. An instrument is very a lot of work—you need 12 reamers for it. much how you are yourself, and And you have to bore it in stages. Only to what you’re like for the voicing. make this fontanelle [the perforated barrel Probably it’s not at all authentic, that protects the keywork at the bottom of what I’m making. But that’s not the barrel], it’s incredible work...to bore possible. You make what you like or all these holes and to make it hollow. what you think would resonate. Al- And also to make the block and the so, the subcontra bass, it’s not au- voicing—when you want to change some- thentic at all! [Laughs]
September 2003 19 Of course, you know, you think Then I thought, “Why don’t I take about—as I’m thinking of players when something between a—how is it—a tran- I’m making instruments—you also think sitional soprano, and then I just make it of this music, paintings of this time, you’re wider and the holes bigger.” I took an orig- reading stuff of the Middle Ages and the inal from the Rosenborg soprano from Renaissance, and then you get some idea Denmark, and then I made it much bigger. how it feels, or you try to feel—but, of The first one was really beautiful. I course, it’s all only fashion. Within 20 thought, “What would I like when I was a years, they’ll make totally different Renais- girl or boy, nine or 10 years old, what sance recorders than how I am doing now! would I like?” I thought I would like to Yeah, it’s always changing—also the have it painted with golden rings and blue, performers of these pieces. It’s only a mat- and then the stars and moon. ter of taste. So I went to a hobby shop where I SN. Speaking of changing tastes and history, bought this paint—what they put on box- do we know of master recorder builders in the es to make flowers, you know, the farmer past? painting, yeah? [Laughs] And then I paint- AB. Yeah-yeah, of course, you had Denner ed it blue with golden rings, and I liked it and Steenbergen and Stanesby, etc. And in so much! [Laughs] the Renaissance, you had the Bassano After that I started painting, by the way. group, Rauch Von Schattenbach, and SN. They’re immensely appealing to kids; Schnitzer, and many very famous makers they love the colors. and schools—in Germany, certainly. AB. Yeah, it’s a pity that it’s too expensive And in England—of course in London, for the factory to paint stars or moons. Per- where the Bassanos worked— and in haps I will ask them, at Christmas time, to Venice, and in southern France, there was make for presents under the tree. also a very famous group where everybody it? When a wood grows just by itself and it SN. Have the Dreams been popular in ordered instruments. They have been has a good….They knew perhaps better Europe with kids? making thousands of instruments. where they cut their wood from and where AB. Oh yes, they’ve started. It’s a pity it’s SN. Were there regional characteristics to the it has been growing. They did it the whole a bit too expensive, eh? They should be recorders then? day, working with this material, so they cheaper, but it’s not possible because it’s a AB. Yes, you have the German group, and probably had very good wood. Of course, high-quality instrument. It’s more work to they are different from the Venice-London you see it on the old instruments also. make a soprano like that than a school so- group, because the Venice-London group, SN. What part is the most difficult—in the prano. they are the same family. This family went process of building, what gives you the most SN. What was difficult about combining that to London, the Bassanos. trouble? size bore with those fingerings? But the German group is different. And AB. Yeah, to make a recorder, it’s not diffi- AB. It’s not so difficult to make a wide- France is even more different—like play- cult. Everybody can turn something, or bored instrument with big finger holes, ing so soft, and tiny windways. make a block, but the last part, when you but it’s difficult to make it also with And, of course, you had the trade really have to know how to blow to make a Baroque fingerings. Because the bore is so routes. It was from London to Antwerp, really nice voicing or a really good instru- wide, you usually get a Ganassi fingering, and it went down, also going through ment, that’s difficult. and then I made some tricks in the bore, France. The trade routes also went And what’s very difficult is to make a with a narrow-head joint and a special through Germany to Italy. And you can see model for the Dream soprano! [Laughs] cone. And then it worked out that you that on these routes these makers were liv- SN. Yes, I was going to ask you about that, could make it—I just was trying, I didn’t ing. That’s why you find back many in- how you came up with that, because it’s use computer programs. I made one and I struments, in Antwerp or Brussels, for ex- Baroque fingerings of course, and yet you’ve thought, “Oh, it has to be shorter,” and ample. They bought these instruments, got the Renaissance-like bore. this and that. And I made about 25 proto- and then because they were on these trade AB. A friend of mine would ask me—he types. I gave them all away to many good routes, they have been selling a lot every- was teaching little children always—he players, and they also play it, this Dream where in Europe. said, “It would be so nice to develop an in- soprano. In concerts, they play it every- SN. And were the woods used then similar to strument for children where they can have where. It turns out to be a very good in- the maples— better…where they can blow more, more strument. I think one-third of the produc- AB. Yeah, of course, they used very good in the low register, and bigger finger holes. tion went to professional players. maples then. The climate was perhaps dif- Because these children, the nerves of the But, in fact, I made it for children, be- ferent, and they didn’t use pesticides or fingers are not so well-developed, and they cause it’s so important, when your first in- extra growing materials for the trees, so don’t feel it. And then you need bigger fin- strument that you get—this is a really nice they’d have more quiet...how do you say ger holes and a more Renaissance instru- instrument. That makes a big impression. ment for children.
20 American Recorder When I was a child I had such bad in- players, that’s something else, because price? struments. Already then, I thought, “This they know what to do—they’re not chil- SN. $24 dollars is about right. is so terrible, what I’m playing.” And I was dren. So you really have to think about AB. Well, yeah, you put the same price, or a very strong girl and blowing so hard. My what would work, what’s important. maybe a few dollars more. I’m dreaming first wooden one—I’ve eaten it up in one SN. Did you ask children to try it out? about it. [Laughs] year or something; just totally worn. AB. Oh, yeah-yeah, they tried—with But many professionals, they said, SN. When did you get your first wooden one? groups of children, and they liked it so “Don’t do this.’’ They think it’s silly. AB. When I was nine years old. much. [Laughs] “I don’t take you seriously!’’ SN. And this was a new recorder? SN. Were you at all surprised by the sound of But I’m perhaps worrying too much, to AB. Yeah, a new one, a machine one, a it? Did it perform pretty much as you expect- what people like. I think of all these chil- school soprano, with a German bore. ed? dren starting on these plain, white plastic But I liked it so much always, recorder AB. Yeah, it’s much better than many of recorders. playing. the factory instruments. In fact, I don’t But it’s hard to get a good color and a SN. A lot of people who don’t even play the look down at it—I won’t have problems good model; it’s a terrible lot of work to recorder love the instrument—I keep run- when I make this Dream soprano in plas- have it all organized. You think I make the ning into people who say they love it, and tic, because it’s better when they have to Dream soprano prototypes, and then it’s what they’re talking about, it seems to me, is start on a plastic instrument. And many ready—but then it starts. You have to find the wood. They love the sound of the wood, the children have to start on a plastic instru- a factory, be giving interviews, and playing timbre. And it’s not something you hear so ment—it’s better to buy an easier-to-play the CD. But it’s worth doing it. much anymore unless you seek it out—for instrument. I never thought about the money, but example, in early music. SN. So this will, in fact, be made in plastic? perhaps when they sell a lot of instru- AB. I made this instrument—the Dream AB. I don’t know. I will have to talk to the ments now—they sold 5,000 last soprano—also for folk players, and they Mollenhauer factory; they’re making the year—and then I earn my money back for really like very much, because you can instruments! all the time. But I think it was necessary to blow much more and really ask something make some good instruments for children. from the instrument. It’s much easier to SN. Do you build just Renaissance recorders, play than a Baroque soprano. It’s really hard work or do you build ones for other repertoire as And it’s such a silly instrument, the to make a good well? Modern, or— Baroque soprano. There’re not many pro- AB. Oh yeah, I made modern ones also— fessional recorder players who choose a instrument for children, the slide flute, with a dynamic adjuster on Baroque soprano as a concert instrument, it—Letitia Berlin [of California] has one. because there’s nothing to say in it. Yeah, because it has to work But it’s very hard to play; not many people for a short time, for a few minutes, and in all stages—when they manage; you really have to practice it for then it gets really boring. months, and then it works really nice. And it’s so strange, that they made blow soft or loud, when And I made this Dream alto, also in these school sopranos after a Baroque they use the wrong sound, hardwood, and you have a modern model—over 80 years, since the last cen- instrument also. Baroque instruments, tury, since they started to make them for it has to work always. I’m not making at the moment. I have so the children in Germany. Nobody much work. I like more to make Renais- changed it because they didn’t develop a sance instruments and to develop other new model; they were just copying other The problem is the molds—these are instruments. models of the other factories. very expensive to make. And then you SN. My son wants to know if there’s any And they took this [Baroque soprano] have to sell so many of these Dream so- mathematics involved in recorder building. 80 years ago because there were no mod- pranos; it is difficult, it’s a big risk. AB. Well, of course there is—but I don’t els like this left over—originals. There are SN. Yes, but I suppose you could put your know anything about it. Some makers not so many good sopranos left. The bass- moon and stars on it! work with this, they need this background es in museums—they are left because they AB. [Laughs] It could look very nice, I and security of how it works. are big instruments. The small ones are think, when you have good plastic. Everybody works in his own way to played more, they are worn out, and Well, you have this Lego [building make a final product. It’s only intuitive for they’re thrown away, so there are not so block] stuff from Denmark, you know; it’s me—it’s an art. Of course, I know how to many sopranos left. really nice colors, and nice golden measure things, but for me, it’s only fun It’s really hard work to make a good in- things—they’re are thinking of this sort of when I just do it! strument for children, because it has to material. work in all stages—when they blow soft or SN. But people will still cherish the wooden For more information about Adriana loud, when they use the wrong sound, it Dreams... Breukink or her recorders, visit has to work always. You have to blow not AB. Yeah-yeah, of course. But when you
September 2003 21 Composers/Arrangers
a third below the alto would take it un- comfortably high). This puts the alto and Arranging a 19th tenor, on the fourth beat of measure 4, well-placed to offer harmony for the so- prano as it introduces the melody after its pickup sixteenth notes. (Note the in- Century Scottish verted G-B-D chord, at the start of meas- he early music group known as ure 5 and again in measure 9.) TChatham Baroque, based in Pitts- All of this is accomplished without Melody burgh, and the Chris Norman Ensemble duplicating any of the entrances, and al- from Nova Scotia are two of my favorite lowing the phrases to be clear, with rests musical groups. In the concerts I have at- in the lower parts. This makes for light- tended recently, both groups have in- ness and brightness. for SAT cluded a set of Scottish pieces or (as they After the introduction, the first or “A” called it) a “sonata of Scottish pieces” by phrase (measures 5-8) is repeated in James Oswald. Hearing these is what measures 9-12 with a slight change at the Recorders prompted me to arrange a set of Scottish end of the phrase. In measures 13-16, pieces as a suite. the “B” phrase shows the alto harmoniz- My source was a book over a century ing, yet supporting the melody, while the by June R. Swiger old, titled 120 Scotch Songs, words and tenor sustains the harmony firmly with music with piano and organ accompani- its steady quarter notes. The “C” phrase, ment (published by Whaley, Royce & measures 17-20, shows alto and tenor Co., Winnipeg and Toronto). The writers supporting the soprano both rhythmi- of the words in this sourcebook are most- cally and harmonically (but not over- ly Robert Burns, Sir Walter Scott and oth- shadowing) and finally reaching a climax ers of lesser-known fame. at the fermata (hold) in measure 20. The words of the music affected my The trill in the soprano at this point choices. I chose “Ye Banks and Braes O’ suggests a completion of a section. Be- Bonnie Doon”, “The Laird O’ Cockpen”, ginning in measure 21, the words sug- “The Flowers o’ the Forest” and “The gest a refrain that is very expressive with Scottish Blue Bells,” the last of which is the words, “The bluebells of Scotland, reproduced here. the Scottish blue bells.” This appears at This is the tenth in a series of arti- The text of “The Scottish Blue Bells” the last two fermatas. The melody is a re- was written by Charles Doyne Sillery peat of the “A” phrase in measures 5-8. At cles featuring the works of com- (1807-1836). Its tune is not as filled with this time, the rhythm in the tenor posers and arrangers who write for examples of the “Scottish Snap” (a six- changes to a quarter note, making the teenth note followed by a dotted eighth) harmony firmer and keeping the beat the recorder. Each installment is as are others. The piece’s closing six- steady. The alto complements both accompanied by discussion of the teenth note-dotted eighth pattern, its re- parts, harmonizing with the soprano but verse (as in measure 27), the grace notes not overpowering the lower part. the composer’s own working meth- (measures 1, 21), plus a florid melody To make it more interesting and a bit ods, including the performance con- with series of sixteenths (measures 7, 23) longer, I have added a first and second make it Scottish. ending. One suggestion, which you siderations that went into creating The first step was to put the melody in might like to try, is to use the introduc- a good key for all three recorders. Instead tion as an interlude and repeat as much the selected piece of music. It is of the original key of E major, I chose the of it as you like, perhaps using the sec- hoped that the considerations that key of G major with just one sharp. This ond ending a third time. key suits the ranges of the three instru- I hope it is as much fun for all to play composers and arrangers have to ments admirably. The form of the piece is as it was to work out the arrangement. keep in mind will be of general rather simple, with a four- measure intro- June Swiger is a retired public school duction in which the tenor has the music teacher (grades K–12) who taught interest to all AR readers, who will melody in measures one and two, and recorder to her students in various grades. also be able to add to their music then the melody is passed to the alto In her retirement, she is involved with the recorder, harmonizing first in thirds (first composer’s group in the Tuesday Musical collection a series of performable four beats of measure 3), then in sixths Club. She has had an original composition short pieces or excerpts. (starting with the fifth beat of measure 3, performed each year since 1989. She is a where the alto leaps up and the tenor re- member of the ARS Pittsburgh Chapter, Stan McDaniel, Series Editor mains in the same range because staying having served as the newsletter editor.
22 American Recorder
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Q & A ______To slur or not to slur?
UESTION: A number of recorder players connected by legato-tonguing (not slurred Legatobögen” (Quartet Exercise for Qwonder when to slur on the recorder. articulation). The last note under a slur is Recorders, 1963). always to be somewhat shortened” But there are many others who do not To slur or not to slur? That’s always the (Saratoga Suite, 1966). Laurie G. Alberts: tell you anything (and many, who do not Avexing, perplexing, and intriguing “The notes bound with solid slurs should play the recorder themselves, don’t know question for recorder players. be played truly legato, whereas those what they want); often today’s performer Slurring (meaning the absence of is left to make his or her own decisions. tonguing) on the recorder is so much dif- Early on, recorder players We who play the recorder know its pe- ferent from slurring on other wind instru- culiarities, and long slurs or slow slurs or ments—so difficult, so dicey—that a case learn the very soft impossible slurs do not sound good. could almost be made for never slurring at tonguing that will Here the “recorder-legato,” or “legato- all; almost. Older recorder players were tonguing” (really a contradiction in terms) “brought up” never to pay much attention bind notes together is the answer. Early on, recorder players to any markings on the music, other than even though they are still learn the very soft tonguing that will bind the notes. It’s much easier not to slur at all. notes together even though they are still However, slurs are “in” in today’s tongued. tongued. But shorter slurs on notes of recorder playing. We have discovered, on smaller values can be used—even in the reading the treatises, that there were slurs bound with dashes should be softly music of someone like Staeps—if they are written in and intended in 18th-century tongued, with more weight on the first appropriate. music, and there are plenty of slurs today. note” (Imitations, 2002.) On the other More and more of today’s composers Still, often a phrase is intended, rather hand, Hans-Martin Linde, who more or are writing fewer slurs and meaning them, than a true slur—and sometimes a mod- less invented the use of the word “portato” as in the music of Patsy Rogers and ern composer is good enough to tell you to mean what other people call “legato Matthias Maute. If you’re still stumped, as what he wants. Hans Ulrich Staeps: tonguing,” is emphatic: “All slurs are to be Patsy says, when you don’t know what a “Notes under slurs are normally to be well- interpreted strictly as legato—echte contemporary composer wants, “call him up!” But in the long run it is one’s own good judgment and experience that count. If it sounds good, do it; if it doesn’t, don’t! Martha Bixler
Send questions to Carolyn Peskin, Q&A Editor, Write or call for free catalogs 3559 Strathavon Road, Shaker Heights, OH 44120; and specify areas of interest.
26 American Recorder ______RESPONSE ______Another red light moment, submitting photos to AR, thanks to Carolyn Peskin Of The Recorder in Print And the Band played on Free music and Red Lights The composition “We’re ARS” by Carolyn Composer Ann McKinley, whose music I wish to thank the American Recorder and Peskin published in the January issue of was reviewed in the May issue of AR (page David Lasocki for The Recorder in Print American Recorder brought much joy and 26) writes that free copies of some of (AR, May 2003). I find it absolutely luxu- delight to me recently. her works are available at the web rious to sit in my armchair and read every- Every March I host a musical weekend site
Dudey had brought that piece for her group on Saturday. So with much fanfare my sons belted out the words to the song while the rest of us played the piece. It was a glorious ending to a fabulous weekend. Thank you Carolyn for contributing to our joy!! Carol Kinney Member of ARS for six years— loving every minute of it!! Credit where Credit is Due The photo that illustrated the joy of ama- teur music-making in The Recorder in Print (AR, May 2003, page 15) was taken by Phil Robbins (also the author of the article on page 35, which includes one of his photos of Musique Amitié). AR appreciates the use of these two photos. Photos submitted to AR should be at least 300dpi at dimensions large enough to allow for resizing as necessary to fit space. When possible, include the name of the photographer so that proper credit can be given.
September 2003 27 ______ON THE CUTTING EDGE ______Musings on the death of Luciano Berio
he death last May 27 of the great Ital- recorder have come from major com- vant of the instrument, trying to bring out Tian composer Luciano Berio has set me posers who were not themselves profes- its best qualities and make music that is thinking about the relationship of some of sional players of the instrument. playable and convenient. the previous century’s major composi- Some of my personal favorites include The challenges of a rigorous composi- tional figures to the recorder. Makoto Shinohara’s Fragmente for solo tional mind can indeed be daunting. We Berio had important connections to tenor recorder (published by Schott); the must not forget that much of the music American musical life. His marriage to the quartet Arrangements by Polish composer written late in his life by Ludwig van American singer Cathy Berberian inspired Kazimierz Serocki (Moeck Verlag); and the Beethoven—particularly the late piano many of his extraordinary vocal works. delightful Eons Ago Blue by the jazz singer sonatas and string quartets—was deemed During the 1960s he taught at Juilliard and pianist Bob Dorough, recorded many unplayable and outlandish in its time. and helped to found the Juilliard Ensem- years ago by the late great Bernie Krainis. While this music continues to challenge ble, which remains an important compo- Stockhausen’s Tierkreis, or Zodiac, his us even today, it has nonetheless become nent of New York City musical life. charming cycle of 12 pieces for melody in- standard repertoire, and first-rate per- I met Berio in the late 1960s at a dinner strument solo or with accompaniment formances have become routine. party in the Chicago suburbs. My friend (Stockhausen-Verlag), works beautifully Today’s virtuosi of the recorder—the and composition teacher at Northwestern with recorder and guitar, or recorder and above-mentioned Matthias Maute, Mari- University, Bill Karlins, had invited a se- keyboard. These pieces originated as mu- on Verbruggen, Dan Laurin, John Tyson, lect group of students and musical col- sic for a set of 12 music boxes, one for each Judith Linsenberg, Aldo Abreu, and many leagues to come and meet the great com- of the constellations of the zodiac. others—have made many of the modern poser, already one of the leading figures in I do not want to imply that I get no masterworks of the last 40 years or so stan- contemporary European music along with pleasure from the music of composer/per- dard repertoire, and I think it’s time for Pierre Boulez and Karlheinz Stockhausen. formers. On the contrary, I love Fanfare & more amateur players to take up such As a student composer I was eager to Dance by Bob Margolis (Manhattan Beach pieces as those mentioned above. glean what “pearls of wisdom” I could I’d like to make the following sugges- from Berio. I hoped to get a chance to dis- tion for non-professional recorder players. cuss his 1966 work for solo recorder, Gesti The composers of our Pick a challenging modern recorder (published by Universal Edition) and, as times have been generous piece (such as Gesti, Fragmente, or luck would have it, Berio brought up the Tierkreis)—one that is beyond your cur- subject himself. As I recall, he talked at with their musical gifts: rent technical level but one that you enjoy some length about the value of having vir- why not enjoy such hearing or that appeals to you strongly for tuoso performers on given instruments other reasons—and commit yourself to who are committed to new music. beneficence to the fullest? mastering the work over a period of time. Years later I had the thrill of hearing Think of the process as similar to building Frans Brüggen perform Gesti on a solo Music) with its clever use of two recorders up physical stamina for competitive run- recital in New York and was struck by the played by one player. Pete Rose has often ning, swimming, or bicycling, or doing unique power of virtuoso performer and opened his solo recital programs with Fan- weight training over a long period to build virtuoso composer conjoined. fare and it works wonderfully well in that strength and improve muscle tone. Create Berio’s series of pieces for solo instru- context. I also enjoy the fine pieces that a practice or rehearsal schedule and try to ments, the Sequenzas, continued this have come from the composer/players of stick to it. Set realistic goals, such as mas- practice of creating new solo music for the the Amsterdam Loeki Stardust Quartet. tering a section, or a page, or mastering finest virtuosi of the day. It seems to me The intimate knowledge of the instrument unusual fingerings or playing techniques, that the concept of the Sequenzas may that such composer/players possess and try to achieve them. Be willing to set have grown out of the solo recorder work. serves to exploit the recorder to its fullest. slower tempos than specified in the score, By now, of course, Gesti is ensconced in But I believe that composers who are if necessary. Work to understand the rhet- the modern recorder repertoire, and, not players often serve the recorder on a oric and vocabulary of the piece, to be- although it is Berio’s only work for the higher level. By placing the conception of come fluent in the composer’s language. recorder, it is a major contribution to the the piece—including structure, language, Make recordings of your practice sessions repertoire. In a conversation with and process—above the inherent nature and chart your progress. Play for family Matthias Maute this past June at the of the instrument, the composer expands and friends as you begin to make progress Boston Early Music Festival (see articles the boundaries of instrumental technique and try to enlist their support and enthu- elsewhere in this issue for more Festival infor- and expression. The recorder becomes a siasm. Perform the work and record it mation), I was reminded by Matthias that servant of the composer’s imagination, as when mastery is achieved, even if the per- many of the finest modern pieces for opposed to the composer becoming a ser- formance takes place in your own home.
28 American Recorder This is a way the non-professional play- er can benefit from the wonder and the magic of challenging modern music. We all enjoy playing traditional-type pieces, based on pleasant melodies, regular rhythms, and familiar harmonies, but the musical diet needs to be “spiced up” with the sounds of our own era from time to time. The experience can be enhanced by learning about the composer—his or her complete works list, biography, commis- sions, recordings, etc.—and seeking out other pieces for serious listening. The works of Luciano Berio are many and varied, including the Sinfonia for voic- es and orchestra, one of the finest modern “symphonies”; his opera La Vera Storia; the series of Sequenzas for solo instru- ments mentioned previously (all available on a boxed CD set from Deutsche Gram- mophon); and many highly inventive vo- cal works, such as Circles or Folk Songs. I wonder how many recorder players have sought out other works by Makoto Shinohara or Bob Margolis in order to gain a fuller perspective on those composers’ sound worlds. The composers of our times have been generous with their musical gifts: why not enjoy such beneficence to the fullest? Tim Broege
September 2003 29 MUSIC REVIEWS ______A tenor recorder sonata, rocking music, motets, and a hundred years of songs and anthems
SONATA FOR TENOR RECORDER nance. The textures are generally rather piano; and two saxophones and piano. AND KEYBOARD, BY DAVID GOLDSTEIN. spare, which helps, of course, with the bal- Provincetown Bookshop Editions 42, ance between the instruments. The gener- O DU LIEBER AUGUSTIN, ARR. UWE 2002. T, kbd. Sc 16 pp, pt 6 pp. $8.95. ic designation “keyboard” invites the use HEGER. Noelzel Ed. N 4500 (C. F. Peters), David Goldstein has written a number of the harpsichord as well as the piano, 2001. SAT. Sc 36 pp. $10.95. of pieces for recorders, including several and while this would certainly be possible, This is a collection of folk songs, inventive arrangements of hymn tunes Goldstein’s judicious but meaningful use waltzes, marches, and patriotic songs and a Sonata for Bass Recorder and Key- of dynamics would be most successfully from the U.S., Italy, the British Isles, board. This present Sonata for Tenor realized on the piano. The recorder part, France, and Germany. Most of the pieces Recorder and Keyboard, like the bass too, features carefully-placed dynamic are familiar as children’s songs or tunes sonata, addresses the relative lack of mu- markings as well as occasional articulation from folk, classical or popular sources. sic for the larger recorder sizes. As this marks, but these will give no difficulty to You might have heard them in a music work makes clear, there is no reason why sensitive performers. class in school, sung them around the pi- the tenor (or, indeed, the bass) should not Those who have enjoyed Goldstein’s ano at home, or heard your grandmother have as full and varied a repertoire as the work in the past will certainly want to ac- singing them as you and your siblings alto or soprano. quire this Sonata, as will those whose first gathered around her rocking chair. love is the tenor. The music is cleanly pre- Being a German publication, all stylis- Those who have enjoyed sented with cues in the recorder part to tic and tempo indications are in German, help with the freely-written sections of the as are the titles of any songs originating Goldstein’s work in the second movement. from Germany. Breath marks are indicat- Scott Paterson ed throughout—helpful for those new to past will certainly want ensemble playing as they work out the THE ENSEMBLE COLLECTION 4: phrasing and interaction of the parts. to acquire this Sonata, 7 PIECES FOR 3 RECORDERS AND Measure numbers are clearly indicated at as will those whose PIANO, BY JOHN KEMBER. Schott Ed. the beginning of each system. 12669 (Magnamusic), 2001. SSA pf. Keys are varied, with G, D, and A major first love is the tenor. Sc 30 pp, pts 8 pp. $16.95. predominating. (These sharp keys may in- The pieces in this collection represent timidate beginners, but here is an oppor- The Sonata is in three movements, the a variety of styles, as suggested by their ti- tunity to overcome these unfounded fears first a march-like Allegro, the second an tles: “Tyrolean Mountain Song,” “Down- with relatively easy, semi-familiar materi- Andante with the subtitle “Psalm 23,” and town Rio,” English Folk Song,” “Missis- al.) Also, of the 26 pieces, there is one the third a dancing 6/8 Allegro. As a sippi Blues,” “Highland Fling,” “An East- each in C major and C minor, four in F ma- whole, the work is light and compact and ern Promise,” and “Spanish Nights.” jor, and one in B major. could perhaps more fittingly have been Each player is given an equal share of Advanced beginners or lower interme- called a “sonatina.” However, there is no melodic interest, and all three parts are ap- diate players will enjoy these arrange- lack of imagination here and, especially in proximately equal in difficulty. The piano ments, as ranges are conservative for all in- the opening movement, there is to be parts are relatively easy but are very effec- struments. The alto part usually goes no found the lively play of musical motive tive in their simplicity, not getting in the higher than C above the staff, but it reach- that is one important aspect of a sonata way of the flow of the recorder parts and es D and E above the staff on one or two texture. Indeed, while both the recorder often entering into the dialogue going on occasions. The soprano and tenor parts and keyboard parts will be found to be between the parts. stay in the staff, as a rule, with the soprano quite comfortable by intermediate players, These pieces are on the easy side of in- going to high A only a couple of times. the musical argument is eventful enough termediate and should provide valuable This is a really fun collection of well- that the music does not sound easy. The ensemble experience for young or devel- known songs from around the world, second movement, in particular, features oping players. As the title indicates, this is interestingly arranged. They will provide free, recitative-like sections that are quite the fourth volume of a series of books for much enjoyment as an introduction to en- effective. small ensembles. The others are for a vari- semble playing in a variety of different The style is grounded in a satisfying ety of different instrumental combinations keys. sense of tonality, though with a strong like two clarinets and piano; two violins, Bill Linthwaite modal flavor and a colorful use of disso- viola or ’cello, and piano; two flutes and
30 American Recorder FIVE THREE-PART SONGS FROM songs by Fayrfax and others are all some- measures. THE TIME OF HENRY VIII, BY ROBERT what Medieval in style, being in three parts The Tallis piece is the easier of the two, FAYRFAX, TURGES, AND ANONYMOUS, ED. with many challenging rhythmic eccen- mostly moving homophonically, while the GREG LEWIN. Hawthorns Music EE 12 tricities. Unlike many recent Hawthorns Byrd anthem is more contrapuntal, but (Magnamusic), 2002. Various instru- editions, this one is not specifically aimed still within the range of an intermediate ments (3 parts). Sc 24 pp, pts 7 pp. at recorder players. Consistent with the recorder consort. For those who may be $13.50. publisher’s practice, there is no indication put off by Byrd’s more intimidating con- TWO TUDOR ANTHEMS, BY WILLIAM of original clefs, keys, note values, or any sort music, this piece is a good introduc- BYRD AND THOMAS TALLIS, ED. GREG editorial changes that Lewin may have em- tion to his works, and Tallis’s music is very LEWIN. Hawthorns Music RS 102 (Magna- ployed. underplayed (almost admired from afar), music), 2002. SATB. Sc 4 pp, pts 2 pp so this publication is most welcome. each. $8. For those who may be However, there are problems in the ed- O MORTAL MAN, BY THOMAS WEELKES, iting. For instance, the texts are included, ED. GREG LEWIN. Hawthorns Music put off by Byrd’s more but only on the back cover and not as an RA 164 (Magnamusic), 2002. SAATB. intimidating consort underlay. For instrumentalists playing vo- Sc 8 pp, pts 1 p each. $9.50. cal music, text underlay is a real necessity ALMIGHTY AND EVERLASTING music, this piece is a good since it helps with phrasing. Also, the GOD, BY ORLANDO GIBBONS, ED. GREG introduction to his works. parts labeled “Descant” and “Treble” in LEWIN. Hawthorns Music RS 104 (Magna- the Tallis piece lie quite low and would music), 2002. SATB. Sc 4 pp, pts 1 p each. Byrd (c.1540-1623) and Tallis (c.1505- sound better played on an alto recorder $8. 1585) were two of the dominant figures in (up an octave) and a tenor. For many, English consort music repre- English church music. Tallis served as a Thomas Weelkes (c.1576-c.1623) was sents the pinnacle of compositions from Gentleman of the Chapel Royal during the the late Renaissance. The high quality of reigns of Henry VIII and Elizabeth I. It is this instrumental music has unfortunately possible that Byrd studied under Tallis as a KEY: rec=recorder; S’o=sopranino; S=soprano; A=alto; T=tenor; B=bass; gB=great bass; cB= contra overshadowed the vast amount of vocal boy at the Chapel Royal, since the two bass; Tr=treble; qrt=quartet; pf=piano; fwd= fore- music, both sacred and secular, from the men maintained a relationship later in life. word; opt=optional; perc=percussion; pp= pages; sc=score; pt(s)=part(s); kbd=keyboard; bc=basso same era. Byrd was witness to both Tallis’s and his continuo; hc=harpsichord; P/H=postage and han- Recently this lode has been mined by wife’s wills, and in 1575 Queen Elizabeth dling. Multiple reviews by one reviewer are followed by the British music publishers London Pro granted the two men the exclusive right (a that reviewer’s name. Musica and Hawthorns Music. These pub- patent) to print and publish music. Byrd’s lications from Hawthorns are a cross- music was held in such high esteem dur- section of English Renaissance vocal ing his lifetime that he was able to remain music, from early 16th-century songs to an unapologetic and successful Catholic Jacobean-era anthems, a span of over a composer in a time when Catholics were hundred years. openly persecuted. Chronologically, the earliest music re- These anthems (an anthem was an viewed here is from the so-called Fayrfax English motet) are very short. The Tallis Manuscript. Robert Fayrfax (c.1484- “Verily, Verily I Say Unto You” is barely 35 c.1521) was a court composer to King measures, while the Byrd “Sacerdotes Henry VII and his son Henry VIII. These Domini incensum et panes offerunt” is 26
September 2003 31 MUSIC REVIEWS (cont.)
one of the very best of the English madri- primarily a church composer during his bining Italian and French styles to form gal composers, considered by many schol- lifetime, but today he is probably best- the synthesis that became late-Baroque ars to rank with Wilbye—and “O Mortal known for his virtuosic keyboard music, German style. Man” is one of his best compositions. It re- such as that found in the Fitzwilliam Vir- Lagrime dolorose is a cantata for bass tains a profound gravity throughout that ginal Book. Also, viol players recognize voice, two alto recorders, and basso con- reminds one of Dowland. However, this Gibbons for his magnificent fantasias for tinuo. It is in five short movements: three edition also has a few problems that re- five and six players. The range of his viol arias and two recitatives. The overall form quire some effort on the part of the player has a certain symmetry to it: the first and to overcome. First, this piece, like the Byrd Gibbons, like Byrd, never last arias share meter and style while the anthem above, has a key signature of two second provides contrast, and all are glued sharps, signaling a possible transposition. seems long-winded and together by the powerful recitatives placed If so, the probable reason was to adapt it to condenses a great deal of among them. The recorder parts are es- the ranges of the recorders. This key signa- sential components of the contrapuntal ture, however, requires care in tuning, es- musical content in a structure, not ad libitum additions. They pecially when a C appears in the soprano surprisingly short space. interweave with the voice part throughout part, as this note seems to drift sharp in the three arias—demonstrating Steffani’s most beginning and intermediate ensem- parts is usually so wide that it prevents a superior command of counterpoint for bles. Also, the lack of beaming, common good transcription for recorders, so this which he became renowned—and the in vocal editions, makes the “Of faith and transcription of vocal music is especially recorders rest during the recitatives. fear” section, particularly, a challenge for welcome. This work requires advanced vocal recorder players. This being said, the qual- As is the case with the Byrd and Tallis skills and intermediate recorder tech- ity of the music is such that it makes any pieces (above), this anthem is regrettably nique. A deep understanding of the stylis- effort well-rewarded in the end. short. But Gibbons, like Byrd, never seems tic issues of the music and the perform- Orlando Gibbons (c.1583-1625) was long-winded and condenses a great deal of ance practices of its era is essential. Except musical content in a surprisingly short for an excellent continuo realization by La- space. As with the Weelkes, the beaming is jos Rovatkay, this edition presents the aimed at singers, presumably so that original work without editorial additions. recorder players and singers could play The publication is of the highest quali- this piece together. ty, as we’ve come to expect from Moeck. A Kung Although I take issue with many of German translation of the Italian text is Moeck Lewin’s editorial practices, I cannot fault provided, and biographical notes are given Aesthé his musical tastes. All the pieces in these Yamaha editions are worth the work, but I wished By the late 17th century, Mollenhauer that the Tallis, Byrd, and Gibbons pieces had all been longer. My personal favorites the cantata had eclipsed Recorders are“O Mortal Man” by Weelkes and “The the madrigal as the Day Day Dawes” from Five Three-part principal secular vocal Competitive Prices Songs. Frank Cone form. Sent on approval LAGRIME DOLOROSE (CA. 1695), BY in German, English, and French. The lack AGOSTINO STEFFANI, ED. SIRI ROVATKAY- of an English translation of the text is the Personalized SOHNS. Moeck 2567 (Magnamusic), only deficit of this fine publication. Service & Advice 2001. Bass voice, AA, and bc. Sc 16 pp, Lagrime dolorose is a work of the high- 4 pts 4–7 pp. $28. est rank that deserves a prominent place By the late 17th century, the cantata on any program that features Baroque vo- Bill Lazar had eclipsed the madrigal as the principal cal music. Lazar’s Early Music secular vocal form. Agostino Steffani’s 12 [email protected] chamber cantatas, with their high drama UNE JEUNE PUCELLE (1575), ANON., (408) 737-8228 and superb part-writing, are exquisite ex- ARR. J.A. LOUX AND J.R. PHELPS. Loux LTM www.bill-lazar.com amples of the genre. 12 (Magnamusic), 2001. High voice and Steffani (1654-1728) enjoyed a suc- kbd, or rec, viol, or str quintet with opt. cessful and colorful life, serving as church- perc. Sc 8 pp, vocal sc 4 pp, 5 pts 1 p each. man, court composer, and diplomat. He $8.75. spent most of his career at German courts, Some melodies are so sublime that where he pioneered the practice of com- they transcend their time and find homes 32 American Recorder in the musical idioms of succeeding gen- erations. “Une jeune pucelle” (“There ARS Membership Enrollment and Renewal Was a Lovely Maiden”) is one such tune. It Please enroll/renew me as a member of the Society. I’m looking forward to: began life in the 16th century in both sa- ✰ cred and profane settings, was pressed in- American Recorder, ARS Newsletter, and the Members’ Directory ✰ Members’ Library musical editions to service as a German chorale, was used ✰ by the 17th-century composer Eustache Eligibility for the ARS Education Program examinations ✰ Discounts to some recorder workshops and on ARS publications du Caurroy as the subject for a set of viol ✰ Mailings from suppliers of materials, music, instruments. (ARS list is made fantasies, found its way into the famous available only to purveyors of goods and services for recorder players.) Messe de minuit sur des airs de Noël of ✰ Information on all aspects of playing the recorder Marc-Antoine Charpentier, and surfaced in the 19th century as a May song. Its U.S./Canadian membership: ❏ one year $40, ❏ two years $75 most recent incarnation is in Jordi Savall’s Foreign membership: ❏ one year $50, ❏ two years $95 wonderful score for Tous les matins du U.S./Canadian Student* membership: ❏ one year $20 ❏ two years $40 monde, the 1991 film biography of Marin Foreign Student* membership: ❏ one year $25 ❏ two years $50 Marais. The present edition is a setting of a Workshop membership: ❏ one year $60 Business membership: ❏ one year $120 French poem in strophic form, with Eng- ❏ Address and/or phone information has changed in past year. lish translation, that recounts the Annun- ❏ Do not list my name in Directory. ciation of the Virgin Mary. Its first four *Enclose proof of full-time enrollment. verses tell the familiar story, and the fifth All dues paid in U.S. funds by check on U.S. bank, or by international money order. caps the work with the opening phrases of the Magnificat. The tune is taken from a Family members residing at the same address may share a membership. However, the student rate is not applicable to a shared family membership. For an additional late 16th-century source and arranged listing in the ARS Directory under different surnames at the same address, add $5. with a modern, hymn-like harmonization for voice and keyboard or five-part Please check to be included on the ARS list of recorder or string consort. ❏ Recorder teachers and/or ❏ Professional performers. (Since your recorder activities A full score, a set of parts, and a vocal may change, you must indicate on each renewal if you want to continue to be listed.) score are provided, all well laid-out and ❏ I wish to contribute $______to help sustain the work of the Society. easy to read. The only deficit of this publi- Please charge to my VISA/MASTERCARD: #______Exp. Date: ______Cardholder’s signature______NAME______PHONE (______)______ADDRESS ______E-MAIL ______CITY______STATE ____ ZIP/POSTAL ______CHAPTER/CONSORT AFFILIATION, IF ANY:______OPTIONAL INFORMATION: Chapter officer or committee member? ❏ Yes (officer/committee: ______) ❏ No ❏ Have served chapter in past Age: _____ For how many years have you played the recorder? _____ Level of recorder playing: ❏ Amateur ❏ Semi-professional ❏ Professional Annual income: ❏ Under $10,000 ❏ $10,000-30,000 ❏ $30,000-50,000 ❏ $50,000-75,000 ❏ $75,000-100,000 ❏ Over $100,000 Portion of your income derived from music: ❏ All ❏ Some ❏ None Portion of music income derived from the recorder? ❏ All ❏ Some ❏ None If all or some, what kind of recorder activities are involved? (Check all that apply.) ❏ Teach privately ❏ Teach/lead workshops ❏ Teach elementary school music ❏ Performance ❏ Recorder maker ❏ Musical director/coach ❏ Other ______What type of recorder music do you play? (Check all that apply.) ❏ Medieval/Renaissance ❏ Baroque ❏ Modern/pop ❏ Folk ❏ Solo ❏ Recorder Orchestra ❏ Chamber music with other instruments (such as trio sonatas) ❏ Broken consort with other instruments (such as a collegium) ❏ Consort involving three or more recorders playing one-on-a-part ❏ Grand consort (format used in many chapter meetings, with several recorders playing on each part) AMERICAN RECORDER SOCIETY P. O. Box 631, Littleton, CO 80160-0631, U.S.A. Fax (with handset down) or call in credit card renewals to 303-347-1181
September 2003 33 MUSIC REVIEWS ARS PUBLICATIONS (cont.) Erich Katz Contemporary Music Series Members Non-Members Suzanne M. Angevine, A Short Tale for two basses (Level II) (2 scores) $ 5 $ 8 Peter Ballinger, Double Quartet for Recorders (Level II-III) (score & parts) $10 $18 Anthony Burgess, Sonatina for Alto Recorder and Piano (Level II) (2 scores) $7 $12 Cecil Effinger, Dialogue and Dance (SATB) (Level II-III) (score & parts) $10 $18 Lee Gannon, Sonatine for three altos (Level III) (score & parts) $14 $26 (score, parts & demo cassette) $23 $43 cation is the lack of a preface and per- Erich Katz, Suite of Jewish Folk Tunes (S S/A8 A/T) (Level II) (three scores) $10 $18 formance notes. At the very least, per- Vaclav Nelhybel, Six Short Pieces for Three Recorders, (AA/TT) (Level II) edited by Alan Drake (3 scores) $8 $14 formers would benefit from knowing a lit- Stanley W. Osborn, Kyrie and Vocalise for soprano voice and recorders tle of the historical background of the mu- (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14 sic and text. Frederic Palmer, Entrevista (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14 Sally Price, Dorian Mood (SATB) (Level II) (score & parts) $10 $18 This work is perfect for use in a church Jeffrey Quick, Picnic Music (SATB) (Level II) (score & parts) $ 5 $ 8 service or for informal consort playing. Musical Editions from the Members’ Library: ARS members: 1 copy, $3 2 copies, $4.50 3, $6 4, $7.50 5, $10 6, $11.50 MOTET: CANTATE DOMINO (1706), Non-members (editions over 2 years old): 1 copy, $5 2 copies, $8.50, 3,$12 4,$15 5, $19.50 6, $23 The ARS is happy to provide photocopied enlargements of any Members’ Library edition at the same prices. Please BY ANDRE CAMPRA, ED. MAURICE C. WHIT- specify “Members’ Library Enlargement.” * = Editions not yet available to non-members. NEY. Loux LPM 69A (Magnamusic), 2000. Bruckner’s Ave Maria (arr. Jennifer W. Lehmann) Serie for Two Alto Recorders (Frederic Palmer) 2 sop voices, bc, and opt SATB rec. Rec sc Dancers (Richard Eastman) Slow Dance with Doubles (Colin Sterne) 4 pp, 3 vocal sc 8 pp each, 5 pts 1–2 pp Different Quips (Stephan Chandler) *Sonata da Chiesa (Ann McKinley) Elegy for Recorder Quartet (Carolyn Peskin) Three Bantam Ballads (Ann McKinley) each. $14.95. Elizabethan Delights Three Cleveland Scenes (Carolyn Peskin) Andre Campra (1660–1744) is a tow- *Gloria in Excelsis (Robert Cowper) Tracings in the Snow ering figure of late Baroque French music, *Imitations (Laurie G. Alberts) in Central Park (Robert W. Butts) Los Pastores (arr. Virginia N. Ebinger) Trios for Recorders (George T. Bachmann) particularly in the fields of opera and New Rounds on Old Rhymes (Erich Katz) Triptych (Peter A. Ramsey) church music. He was a prolific compos- Other Quips (Stephan Chandler) Two Bach Trios (arr. William Long) Poinciana Rag (Laurie G. Alberts) Two Brahms Lieder (arr. Thomas E. Van Dahm) er, who held the post of master of music at Santa Barbara Suite (Erich Katz) *Variations on “Drmeš” (Martha Bishop) several prominent churches, including Sentimental Songs (arr. David Goldstein) Vintage Burgundy Notre Dame Cathedral in Paris, until the ARS Information Booklets: siren song of the stage lured him away. He ARS members: 1 booklet, $13 2 booklets, $23 3, $28 4, $35 5, $41 6, $47 7, $52 never gave up composing for the church, Non-members: 1 booklet, $18 2 booklets, $33 3, $44 4, $55 5, $66 6, $76 7, $86 however, and left a large body of sacred Adding Percussion to Medieval and Renaissance Music (Peggy Monroe) American Recorder Music (Constance Primus) music that spanned his entire career. The Burgundian Court and Its Music (Judith Whaley, coord.) The present work is a setting of the Improve Your Consort Skills (Susan Carduelis) opening verses of Psalm 149 for two so- Music for Mixed Ensembles (Jennifer W. Lehmann) Playing Music for the Dance (Louise Austin) pranos and basso continuo with optional Recorder Care (Scott Paterson) recorder quartet from Campra’s Education Publications Motets…livre quartrième, published in The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). 1706 and 1734. It is a revision of a motet First copy free to ARS Members (mailed to current members in 1996 & new members as they join); published in his Motets…livre second of replacement copies for members or non-members, $3. Guidebook to the ARS Personal Study Program (1996). Material formerly published in the Study 1699. The revised version is simpler in Guide and Study Guide Handbook, plus additional resources. Members, $11; non-members, $20. form than the original and exhibits a bit of ARS Music Lists (2002). Graded list of solos, ensembles, and method books. Members $8; non-members, $14. the Italian influence that became a promi- Package deal available only to ARS members: Guidebook and Music Lists ordered together, $15. nent feature of Campra’s later works. It is Junior Recorder Society Leader’s Resource Notebook. ARS members, $20; non-members, $40 a melodious single movement in quick (updates at reduced rates after initial purchase). Special rate for previous purchasers of JRS Class Program, $15. Dues for each JRS student member sponsored by an ARS member, $5 ($4 each for tempo with a brief recitative near the end. groups of 10 of more). JRS student members receive activities plus “Merlin” badges and stickers. This publication is a performance edi- Other Publications tion, not a critical edition. It contains tem- Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering forming po markings, slurs, dynamics, and other an ARS chapter. ARS members, $10; non-members, $20 (updates free after initial purchase). expression markings that are not distin- One free copy sent to each ARS chapter with 10 members or more. Recorder Power, educational video from the ARS and recorder virtuoso John Tyson. An exciting resource guished as editorial additions, but which about teaching recorder to young students. ARS members may borrow a copy for one month by sending a many musicians will find helpful. refundable $10 deposit to the ARS office along with the address to which the tape should be shipped. In other words, it is for performers, not 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. scholars. In fact, it is impossible to deter- Either single volume: ARS members $23; non-members, $28. mine which of the recorder parts are orig- Both Discography volumes together: ARS members only, $40. inal and which were added by the arranger 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. to fill out the ensemble. All prices are in U.S. dollars and include U.S. postage and handling. For Canadian or foreign surface postage, please It is a wonderful work, however, that add an additional $1 per item; for Canadian or foreign air mail, please add an additional $3 per item. When ordering makes only modest technical demands of five or more items to be shipped anywhere at the same time, ARS Members may deduct an extra $2 on top of the discounted members' price. Please make checks payable to the ARS. VISA/MasterCard also accepted. the performers and is suited for both the church and the recital hall. American Recorder Society P.O. Box 631, Littleton, CO 80160-0631, U.S.A. 303-347-1120 Thomas Cirtin
34 American Recorder TULERUNT DOMINUM A 8, BY counted in the original half notes. syllable in measures 25 and 54 of the Sex- ASCANIO TROMBETTI. London Pro Musica The range of each part is narrow, so in- tus I part. LPM ADC87 (Magnamusic), 2001. SATB strumentation is easy to mix: recorders, Scheidt’s Ein feste Burg is based on the + SATB (or gB). Sc 8 pp, pts 1 p. $8.50. crumhorns, cornetti, strings, and voices. well-known melody. Compared to the Ital- SALVE REGINA A 8, BY ASCANIO TROM- Duplicate parts in alto clef are included. ian pieces, it is more “vertical,” therefore BETTI. London Pro Musica LPM ADC88 Parts lie low in the recorder ranges, mak- more useful for a tuning exercise. One (Magnamusic), 2001. SATB + ATTB. Sc ing them ideal for Renaissance wide-bore small error is the measure number 46 in 8 pp, pts 1 p. $8.50. instruments. English translations are pro- the Cantus II part, which should be 48. EIN FESTE BURG A 8 (1620), BY vided for the original Latin or German. The alto has a low E in measure 32— SAMUEL SCHEIDT. London Pro Musica LPM Trombetti worked in Bologna as a wind either trade one note with the tenor part, ADC97 (Magnamusic), 2001. SATB + performer and composer. His Salve Regina or play this whole alto part on a tenor SATB (or STTB). Sc 14 pp, pts 2 pp. is from Il Primo Libro de Motetti (for 5-12 recorder. If the bass plays measure 77 up, $10.50. voices), published in Venice in 1589. Its it will still be below the tenor part. These three pieces are part of the Lon- These are good. Buy them, buy them don Pro Musica series of music for two Performing these works all. choirs entitled “A due cori.” The series Patrick O’Malley contains nearly 100 late Renaissance with a physical distance works, usually for eight voices and usually between the two choirs LABERINTOS, BY STEFAN THOMAS. by Italian composers. Editing is of uni- Moeck 1600 (Magnamusic), 2002. T, so- formly high quality, and the pieces are de- can enhance the prano voice, violin. 3 sc, 13 pp each. $25. lightful to play. stereo effect. Other than the fact that they are all se- Polychoral composition developed to rious and difficult, Stefan Thomas’s take advantage of the architectural fea- text is a plea to Mary. Tulerunt dominum, recorder works are quite different from tures of spaces such as St. Mark’s Basilica on a joyful Easter text, is the most rhyth- each other in their musical direction. in Venice. Performing these works with a mically complex of the three pieces re- Thomas initially gained fame in the physical distance between the two choirs viewed here, and it was the favorite of my recorder world through his composition can enhance the stereo effect. Since some play-through group. The Bassus part de- Veranderungen, a minimalist piece for entrances are homophonic and others are scends twice to low E, but bass recorders three bass recorders. It was premiered by staggered polyphony, and since the parts can easily take those notes up an octave, or Trio Dirito, a group that is not well-known do not have cues, a conductor is suggest- the part can be played on a great bass. Text here but has been widely heralded in Eu- ed. Finding the right tempo is important, underlay is good, but I would move one rope after winning the International
September 2003 35 MUSIC REVIEWS Provincetown Bookshop Editions (cont.)
JUST OFF PRESS! 8 DANISH & SWEDISH FOLKHYMNS ed. for 4 recorders (SATB and AATB) Recorder Competition at Calw. Subse- by Joel Newman quently, the Calw competition itself com- (PBEd. No. 43; 4 Playing Scores) ...... $7.95 missioned Thomas to write Drei Bagatellen for solo tenor, arguably the most difficult recorder piece extant (cer- Ingratiating tunes and rhythms in rich harmonic settings; tainly one of the hardest). The post-Anton a companion to our NORWEGIAN FOLKHYMNS, Webern contours of this work bear no both intended for “young” ensembles. trace of a minimal music influence. Thomas has also written a rhythmically stirring work for four tenor recorders A good source for Recorder & Viol Music of all publishers. called Inherent Patterns. Its dynamism The Provincetown Bookshop, Inc. springs from ideas that have been ab- 246 Commercial Street, Provincetown, MA 02657 Tel. (508)487-0964 stracted from African drum ensemble practices. Laberintos (Labyrinths) is esthetically linked to the central European expres- sionist (one could make a case for late Ro- mantic) tradition. It is a setting of three poems by Jorge Luis Borges in a dissonant atonal language. Most complex are its rhythmic formations, which border on highly-controlled simultaneity. Concern- ing the first movement, “Al Esperjo” (To the Mirror), Thomas states, “…canonical structures of all sorts play an important role.” This is misleading if taken literally. What really happens is that the three mu- sicians often perform variants of the same material at the same time. In the long view the music gradually progresses from short events to a more continuous through- composition. The second movement, “Laberinto,” is generically similar to the first—but with different material, of course. There is gen- erally less of a connection between the in- dividual parts, and the overall form is arc- Beatin’ Path Publications like, with sparse gestures at the beginning and end. In one section—measures Music That Works! 70-76—the voice drops out and the recorder and violin engage in a a repeti- Robert Amchin tious perpetuum mobile. Alto Antics ensembles for beginning alto recorder with percussion accompaniment More consistently repetitious is the Recorder Frolics for beginning C-pipes (Play-along CD available) third movement, “El Suicida.” Death is Moods and Modes for intermediate classroom ensembles: includes play-along CD portrayed by a gradually narrower tessitu- Brent M. Holl and Michael R. Nichols ra in all three parts and, in the last seven The Beatin' Path Consort Collection for beginning and intermediate ensemble measures, the use of quartertones to pro- Michael R. Nichols duce even more range restriction. Christian Harmony Sacred Harp (Shaped Note) music arranged for SATB consort The edition is beautifully printed and has instructions in English, German, and French. It contains three copies of the See our online catalogue of Church, 302 East College Street choir, Orff and recorder music at: score printed in file form. Playing this mu- Bridgewater VA22812 www.beatinpathpublications.com sic requires consummate professionals. 540-478-4833 or visit your favorite music dealer Pete Rose
36 American Recorder BOSTON EARLY MUSIC FESTIVAL (cont.)
Daphna Mor explains how a harpsichord produces sound to young concertgoer and chiffs in the During a dash to an overlapping mas- aspiring pianist Evan Uhlig dramatic ter class by Matthias Maute at Em- east . green . manuel Church, much of the crowd from spring of an earlier parade remained on the streets, Maki Ishii while a bagpiper serenaded guests leav- earned two ing a wedding at an Arlington St. church. bows. In the master class, the renowned “A Lovers recorder and flute virtuoso (and compos- Quarrel” was er) showed himself to be a master teacher the subtitle as well. He took four talented young peo- of the final ple—Alicia Kravitz, Dalia Gibson, segment of David Giusti, and Kara Ciezki—and, mostly two- in a half-hour for each, encouraged, part inven- gently criticized, and gave each some- tions of J.S. thing important to consider in playing. Bach (mixed with a few pieces by his contemporaries), played by Sarah Cantor with gambist Angus Lans- ing. The syncopated rhythms of Invention No. 6 in E Major seemed the most de- manding to keep together, as the two phrased as one and assembled its parts like an intricate puzzle. changing pitch. Her fine playing was no- It’s always refreshing to see a per- ticeably enhanced by his coaching. former so obviously enjoying herself, fre- Throughout the afternoon Maute’s quently smiling, as was the case with good humor and engaging manner made Daphna Mor in the afternoon perform- him a hit with all, while he provided new ance by The Telemann Ensemble. Play- insights into recorder playing. ing easily and embellishing musically, she opened with the favorite Sonata No. 4 To Kravitz (above), playing Telemann, in F Major of G. F. Handel. Switching to a he suggested that she “tell the story” of Yoav Ran Renaissance soprano for Fres- her piece, and find her own “inner bal- cobaldi canzonas, her fast articulation let,” explaining that Telemann was a was crisp, while slow passages employed master of Baroque rhetoric and that one plaintive pitch-bending at cadences. should always concentrate on his affect The inaugural concert by The Three and mood. Cities Ensemble tried to cram an unex- He helped Gibson, playing Bach with pected 30 people into a hot Park Plaza an over-active vibrato likely caused by Hotel meeting room. Despite sweat nerves, to relax by playing echo-style beading on their faces, traversi players question and answer with her, then gen- Paul Jacobson and Sandra Miller were tly persuading her to improvise. Maute well in tune at cadences, coordinating es- also made basic statements about play- pecially nicely their scale passages in the ing with vibrato—that it is not created The Festival still wasn’t over, although Double de la Gavotte movement of Suite with one’s diaphragm, and giving sug- the events of June 15 were fewer. A break- in A Minor of Louis Couperin. gestions about how to learn to control it. fast discussion allowed ARS chapter From Giusti (left), playing a Telemann leaders to discuss issues facing their di- Fantasia, Maute coaxed some exciting verse groups, and many stayed for a playing by example: using imagery such recorder play-in (above) after the round- as a slamming door when sudden rests table—allowing them to go straight to interrupted the music, with the audience the previously-described REBEL per- clapping hands as the door slammed. formance to end a busy several days. Ciezki performed a movement from a Gail Nickless with contributions from Bach violin sonata. To her, Maute sug- Martha Bixler, Carolyn Peskin and gested how to get dynamics on the in- William Stickney strument and to control vibrato without September 2003 37 CHAPTERS
______& CONSORTS ______Chapters celebrate Play-the-Recorder Month, ______meet for music and wine at Wiederkehr
On the last Saturday in May, members of the two Arkansas ARS chapters gath- Play-the-Recorder Month 2003 ered for the third time at the Wiederkehr A number of ARS chapters and individuals participated in Play-the-Recorder Month Winery in Altus, AR, to enjoy a day of (PtRM) during March 2003. So many reports of great activities around the world were playing and socializing. Seven members of submitted that it was a nearly impossible task for the Chapters and Consorts Commit- the Aeolus Recorder Konsort of Little tee to choose among them, but they felt that several of the entrants were especially note- Rock and 10 members of the Bella Vista worthy. Recorder Consort attended. Group play- The top prize-winner in the “Most Imaginative PtRM Activity” contest was the ing was led by Laurine Williams of Little Birmingham (AL) Chapter, which received a selection of recorder music from Mag- Rock, and Bill Rees and Charles Whitford namusic Distributors, Inc. The Birmingham Chapter sponsored a play-in on Play- of Bella Vista. The group included the the-Recorder Day, March 8, plus four oth- whole range of recorders, from sopranino er concerts and a workshop during March. to contra bass, as well as one viol and a few Beginning players participated in several of “louds”—cornetto and crumhorns. the concerts, and chapter members pro- Highlighting the day was Peter Seib- moted ARS membership, sold ARS pins ert’s Piece for Ten Basses (or Ten Tenors) and distributed other items. Players from played by 12 basses, including great and the chapter gave performances in Ken- contra—a rich sound indeed. Other fea- tucky and Mississippi as well as Birming- tures were two pieces arranged by Hilde- ham (photo at right of Birmingham quartet, garde Erle of Bella Vista: Arkansas Traveler Quadrille; l to r: Janice Williams, Steve and Country Gardens. In addition, the Calvert, Connie LaMonte, Muriel Teague). group played Bach, Handel, and several Featured on two Birmingham concerts double-choir pieces. was the San Francisco-based Farallon Quartet, whose programs included the regional The winery, located halfway between premiere of The Abacus by Andrew Levy, a 15-year-old composer and former ARS Pres- the two chapter centers, provided an ap- ident’s Scholarship recipient. Members of the Farallon Quartet also presented a week- propriate room for playing at no charge, end workshop for all levels of recorder players. and all enjoyed lunch there. Plans are al- Several other chapters were awarded runner-up prizes for their imaginative pro- ready in place to continue this tradition of grams. The Ann Arbor (MI) Recorder Society performed in the Japan Cultural Festi- an annual joint meeting, despite being val at the University of Michigan, playing a mixture of traditional and modern Japan- geographically separated. ese music. They won a Yamaha bass recorder from the Von Huene Workshop. The New York Recorder Guild held The Westchester (NY) Recorder Guild received a set of recorder music from the its annual day-long workshop on April 27, Boulder Early Music Shop for its several PtRM events, including running a mini- a spring day perfect for a theme of “Madri- workshop coached by the Amsterdam Loeki Stardust Quartet (after which ALSQ left in galia.” John DeLucia, music director for a rainstorm to drive two hours to their next-day concert location). Chapter members the NYRG, selected workshop instructors also played at a service at Emanuel Lutheran Church in appreciation for the church al- who have strong vocal credentials, as well lowing them free use of the facility for meetings and concerts. A January visit by a re- as recorder expertise: Karen Snowberg porter from the New York Times resulted in a feature article in the Westchester section of the Westchester (NY) Recorder Guild, of the Times on March 2—just in time to announce the chapter’s PtRM activities. Sheila Beardslee of the Boston (MA) The Navesink (NJ) Chapter presented a program at a Borders Bookstore that in- Recorder Society-West, Larry Lipnik of cluded children ages 8-11 and adults. Using a full consort from sopranino to great bass, several early music groups including their program covered Renaissance and Baroque to new music and folk-tune arrange- Lionheart and Parthenia, and Larry ments. The use of an Israeli dumbek and a Turkish drum enhanced the ethnic tunes. Zukof, director of the New Haven (CT) Both the Navesink Chapter and Recorders Northcoast (CA) received a soprano Neighborhood Music School. and alto recorder set from Courtly Music Unlimited. Music played included Juan del Enci- Northcoast’s concert included the use of harpsichord, guitar, crumhorn, harp, dul- na’s Una Sañosa Porfia, a haunting villan- cimer, dumbek and drum plus the full range of recorders. An improvisational troupe cico from the very early 16th century, and presented a loosely-Elizabethan humorous performance. Northcoast continued its La Negrina, a polyphonic work by Mateo PtRM activities with a workshop led by Eileen Hadidian, and concluded by participat- Flechna from 1581; two madrigals of ing in a traditional Irish Ceili at the Humboldt Folklife Center in Arcata, CA. Monteverdi—Anima Mia with a text from The ARS chapter with the largest percentage increase in membership during March
38 American Recorder was the Northwinds Recorder Society of Petoskey, MI. Northwinds received a selection of recorder music from the Boulder Ear- ly Music Shop. Other chapters worthy of mention are the Phoenix (AZ) and Toledo (OH) Chapters, which also reported signifi- cant percentage increases in membership. A special individual prize-winner was Allison Hutton of Australia. Allison was honored for her entry in the “Most Imaginative Use of ‘We’re ARS’,” the theme song written by Carolyn Peskin for this year’s Play-the-Recorder Day. Allison traveled to the remote northwest coast of Western Australia to join her folk band for an event designed to encourage people to get out and exercise with their dogs! For her impromptu performance in the outback, Allison won a se- lection of recorder music from Arcadian Press. During Play-the-Recorder Month, a number of chapters hosted workshops. The Aeolus Recorder Konsort (AR) welcomed Martha Bixler (holding cornetto, fourth from right in photo at right) for her second workshop visit, and also welcomed participants from four states to their workshop—held on Play-the- Recorder Day, affording a timely group rendition of “We’re ARS.” San Diego County (CA) Recorder Society took advantage of Marion Verbruggen’s nearby concert to schedule her for a workshop. The Washington (D.C.) Recorder Society hosted a two-day workshop, at which Gwyn Roberts chose music to be played as closely as possible to the sound of the human voice. Roberts also worked on hand position, stressing that the left hand carries no weight, and on abdominal breath- ing with the throat relaxed. A mini-workshop entitled “Feast Française” was the fare for the Rockland (NY) Recorder So- ciety. Led by Carol Leibman, the morning included a menu of music by Guillaume de Machaut, Josquin Desprès and Claude Gervaise—plus a menu of croissants and brie as snacks. Hawaii Chapter members celebrated with a different treat—bubble tea, a flavored juice/tea with balls of tapioca. Workshop leader Valerie Horst (wearing lei, back left in photo at left; members hold “We’re ARS” and bubble tea) led participants in a variety of challenging pieces plus “We’re ARS.” Moss Bay (WA) Recorder Society’s March meeting opened with “We’re ARS” led by ARS Honorary Vice President Wini Jaeger. Montreal (PQ) Recorder Society featured “We’re ARS” in a French translation. West Michigan Recorder Ensemble squeaked in a March 29 play-in, led by early music businessman Gerhart Schmeltekopf of Chicago, IL. The Fort Collins (CO) Recorder Society braved a massive blizzard to gather at a member’s house (photo at right). During March they also played for a Presbyterian Silver Tea, a Methodist women’s meeting, and joined Boulder (CO) Chapter members for a program at Borders Bookstore. The Hudson Mohawk (NY) Recorder Society took the occasion of PtRM to reflect on the life of one of the group’s deceased members. Connie Rowley passed away three years ago at the age of 85, after an active life filled with adven- ture, education and music—still teaching at the Coxsackie Correctional Facility right up to her death. Her family had donated Connie’s music collection to the chapter, which used its March meeting to go through her music and remem- ber the help Connie had given to struggling members. The chapter hopes to make this a yearly meeting theme. The New Orleans (LA) Early Music Society presented a joint two-hour concert with students from Ursuline Academy Mid- dle School, the oldest continuously operating school for girls in the U.S. and also the only school in Louisiana with a music program teaching SATB recorders. (The school owns 14 complete Yamaha consorts, plus extra instruments to loan to students each fall!) The chapter and school performed separately and together in small and large groups, choos- ing some music from Sweet Pipes and Beatin’ Path publications used by the school’s fifth and sixth grade students. About 60 players participated (photo at left). The Society for Early Music of Northern Maryland, having been unable to secure a concert venue to continue its tradition of presenting a PtRM concert, instead played at two churches. One was the oldest church in Baltimore—Old Otterbein Methodist Church, built in 1785 when recorders were popular! The dozen chapter members playing at each church offered almost the same program: a J.S. Bach chorale as prelude, music by Niccolo Zingarelli, Moravian composer G. D. Cruse, Daniel Speer and Johann Pachelbel, plus accompaniments to hymns. Greater Cleveland (OH) Chapter gave its third annual PtRM concert at Joseph-Beth Booksellers, publicized by its local classical music radio station—which also featured recorder music throughout March. Princeton (NJ) Recorder Society members were giv- en an easy way to promote their annual performance at Marketfair: a half-page strip, containing three announcements (like large busi- ness cards), was mailed with the chapter newsletter. Members were asked to share these handouts with friends and co-workers. Over a dozen members of the Tucson (AZ) Recorder Society mounted an outreach effort during March, participating in recorder demonstrations in five local elementary schools and reaching as many as 500 school children. Other chapters and individuals who are worthy of special mention are the Rio Grande (NM/TX) Chapter, Carol Kinney, East- ern Connecticut Recorder Society, Atlanta (GA) Recorder Society, Metropolitan Detroit (MI) Recorder Society, Brandywine (DE) Chapter, Colorado Springs (CO) Recorder Society, Sacramento (CA) Recorder Society, South Bay (CA) Recorder So- ciety, Sarasota (FL) Chapter, Twin Cities (MN) Recorder Guild, and the Boston (MA) Recorder Society. Thank you to everyone who participated in 2003. Start planning now for an exciting Play-the-Recorder Month 2004 next March!
September 2003 39 perhaps the “hottest” poetic drama of the Sacre Bleu! AROW Shines in an All-French Concert 17th century, Guarini’s Il Pastor Fido, and Under Richard Geisler, the American Recorder Orchestra of the West (AROW) Lucia Serene e Chiara; and finally two Byrd performed a June pair of concerts of French music from the 13th-20th centuries in Davis pieces—an instrumental fantasia fol- and Oakland, CA. The 16 members of the ensemble, playing recorders of all sizes, come lowed with The Fair Young Virgin. from communities throughout northern California. The group often plays four-part mu- The year-long celebration of the 35th sic, enhanced by an extended palette of tone colors created by combining larger and anniversary of the Greater Cleveland smaller sizes, and using contrast between soloists and multiple players on a part. (OH) Chapter ended with its May con- The concert opened with a nod to the French Baroque, with Te Deum: Fanfare & Ron- cert, which included some of the earliest deau by Marc-Antoine Charpentier, followed by Geisler’s creative arrangement of Michel and latest acquisitions in the chapter’s li- Corette’s La Servante au bon tabac. Using different pairings of recorder sizes, the simple brary. folk tune was transformed into an engaging game of “Hot Potato” (pomme de terre The Cleveland Chapter’s annual chaud?) as the tune was tossed around the group with varying accompaniments. spring workshop, held in April and led by The concert moved to an arrangement of the late-19th-century Prelude & Fugue in D Patricia Petersen, took 16 “travelers” Minor for Organ of Camille Saint-Saëns. This difficult work showed how far Geisler has through music of Scotland, Denmark, brought the orchestra’s ensemble skills. Several passages required multiple players to Portugal, Czechoslovakia, Poland and masquerade as two hands on a keyboard, keeping melodic lines moving seamlessly. Russia. The latter Eastern European selec- The orchestra treated the audience to 19th- and 20th-century works by Erik Satie, tions included a five-voice 16th-century Claude Debussy and Francis Poulenc, plus earlier music by Jacques Arcadelt (Margot, “Kyrie” by Polish composer Jiri Rich- labourez les vignes, printed in the March issue of AR) and Thoinot Arbeau. Its last burst novsky; a five-voice motet by the best- of energy was “The Toreador Song” from Georges Bizet’s opera Carmen. An encore re- known Bohemian Renaissance composer, moved any remaining melancholy—the well-known Can-Can by Offenbach; the players Jakob Handl; a mixed bag of other Polish could almost cover Geisler’s 18-part version, but the two missing parts didn’t detract. selections including a four-voice motet by The ending hint of Spain also hinted at next season, when AROW embarks on a six- Waclaw Szamotoul (employing Nether- month “Medieval Pilgrimage” to the 12th century and the beginnings of Western mu- landish imitative polyphony), a late 16th- sic. The journey will start with plainsong of Hildegard von Bingen, then proceed to century homophonic Psalm setting by Leonin and Perotin at Chartres Cathedral in France, and the beginnings of polyphony in Mikolaj Gomolka, and a five-voice early organum (a form of harmonization, used c.900-1200 A.D., in which up to three extra 17-century motet by Mikolaj Zielenski parts move in parallel to the melody). The ultimate destination—a program of Spanish that included three-voice “high” and music before 1550, featuring cantigas of Santa Maria and works by Francisco Guer- “low” choir passages; and an exuberant rero—will include side trips to visit polyphonic songs of Guillaume de Machaut, Eng- song of praise by Nikolai Diletsky, a lish kings who also composed (Richard I “the Lionhearted,” Henry IV and Henry VIII), Ukrainian composer. plus anonymous Italian, French and English songs and dances. Glen Shannon Recorders and Voices Team Up A weekend in April saw the first-time pairing of the San Francisco (CA) Recorder Group (SFRG) and Loose Canons, a women’s world song ensemble, for two free concerts in San Francisco. Most members of the recorder ensemble are also members of the newly-formed San Fran- cisco ARS Chapter or of the East Bay Recorder Society. After hearing the Loose Canons in November 2002, SFRG member Noemi Shenquerman suggested to Greta Hryciw the idea of a joint con- cert by the two groups. The idea appealed to Greta, a member of both SFRG and Loose Canons, and the concept was presented to the recorders and the singers at their respective meetings. After considerable discussion, dates and venues were decided, and music chosen carefully. San Francisco Recorder Group With such divergent repertoires, it was quite a puzzle to solve. Both (Photo by Lloyd Hryciw) groups agreed they wanted at least two pieces to perform together. Though there was only one full rehearsal with both groups in atten- dance, the resulting 90-minute program was delightful. The combined groups opened with Thomas Morley’s madrigal Sing We and Chant It—the singers starting a capella with repeats played by the recorders, and all joining for the final verse. The recorders then played music by Holborne, Weelkes, Pinto (Beata Virgo, with three members of the recorder group singing the words), and Josquin’s Ave Maria quartet; and later played Andrea Gabrieli’s Canzona arranged for recorders, crumhorns, and dulcian, duets by Layolle and Giamberti, plus a recorder orchestra version of the syncopated “Agnus Dei” from the Barcelona Mass. Selections by the Canons were Il est Bel et Bon by Passerau; Kangding Love Song in Chinese; a beautiful Russian folk song so- lo by soprano Jonnie Pekelny; Canons director Jillian Tallmer singing the heartbreaking Papyrosen in Yiddish; the uplifting, ap- propriately canonic, Sing all Ye Joyful and The Road is Calling (cleverly combined for Loose Canons by Jillian), a Ukrainian song called Pysanyj Kamin; a Japanese children’s song, Hotaru Koi; Rossini’s charming farce, Duetto Buffo di Due Gatti; and a spooky Chilean lullaby, La Luna Se Enoja, followed by an arrangement of All the Pretty Little Horses. The finale was a Greta Hryciw’s arrangement of the Shaker melody Simple Gifts, as adapted by Aaron Copland. Greta Hryciw
40 American Recorder MORE PLAY-THE-RECORDER MONTH REPORTS
All Roads lead to…Flanders The Recorder Society of Long Island hosted a two-day workshop in The Pilgrim Pipers of St. Petersburg, March, featuring the FL, offered two school programs during Flanders Quartet—a Play-the-Recorder Month. First they went perfect way to celebrate to St. Jude’s Elementary School to Play-the-Recorder Month! demonstrate the recorder, playing for and On the south shore of with approximately 180 students in third- Long Island, the Siena fifth grades who themselves were learning Spirituality Center in Wa- the recorder. Later that week they jour- termill, NY (near Flanders, neyed to Largo High School, where they NY, as shown in photo), provided an idyllic setting for a tranquil, yet focused, experi- shared 90 minutes of music with their ence. The center, owned by Dominican Sisters, is now a retreat and conference center. elite Madrigal Singers. This group from Over 30 participants were placed in small groups, allowing for exploration of dou- Largo High won first prize in a competi- ble-choir and eight-part music under the expert eyes and ears of the Flanders mem- tion in England last summer. The Pipers bers. Each group of players spent 75 minutes each day with each of the quartet. Top- played madrigals by Morley, Byrd and ics covered included caring for wooden recorders (a little scary for those who don’t Bateson; in turn, the Madrigal Singers routinely take out blocks and clean recorders with a toothbrush); using breath and fin- shared a delightful half-hour of a capella gers, with some useful exercises for production of vibrato; and the great value of si- madrigals. lence and contemplation in playing music. Music played included J.S. Bach’s Bran- In each performance the Pipers took denburg Concerto No. 2 set for recorders (mercifully at a pace we could more-or-less time to share information about the manage); his Komme, Jesu, Komme; double-choir music of Giovanni Picchi, a con- recorder, something of its history and the temporary of Claudio Monteverdi; a modern work by Willem Wander van Nieuwkerk; variety of recorders being played. and a double-choir work by William Brade. Each week at St. Petersburg’s Pilgrim Saturday evening brought a “double treat” concert, with The New Amsterdam Trio Congregational Church, between six and (Rachel Begley, Daphna Mor and Tricia van Oers) opening for the Flanders Quartet. 14 people ages 16 to 87 meet to enjoy The quartet gave an eloquent performance of settings of music of Bach, making full playing all recorder voices from sopranino use of low choir instruments including great bass in C and contra bass. Contrapunc- to bass. Over the years, they have played tus II from Art of Fuge, BWV 1080, was followed by Joris van Goethem’s arrangements for the church’s worship services and as of Vater unser im Himmelreich, BWV 737, and Fuga in A, BWV 543. They closed the set entertainment for its fellowship groups, with Bart Spanhove’s arrangement of the Bach Concerto in A, BWV 596 (after Vivaldi’s and have been invited to play for the op. 3, no. 11). Those familiar with the group’s Bach CD would anticipate flawless Christmas celebration of the Co-op Ex- playing, perfect intonation, excellent choices of articulation and a deep empathy with tension Service and at the opening of the the spirit of Bach’s music—but to experience the sound of the group in person was a Largo Botanical Gardens. For three years near-religious experience, in harmony with the setting of the spirituality center itself. they were a part of the First Night Activi- Nancy M. Tooney ties in St. Petersburg.
CHAPTER NEWS The SWEETHEART Chapter newsletter editors and publicity FLUTE CO. officers should send materials Recorder Magazine to the following addresses: we invite you to visit the site Baroque Flutes: our own American Recorder, 7770 South High St., www.recordermail.demon.co.uk Centennial, CO 80122-3122. “Sweetheart” model by e-mail
September 2003 41 BOOK
______REVIEWS ______A pact with the devil; A415 spoken here (but maybe not down the road)
PROGRAMMING THE ABSOLUTE; Hoeckner touches only tangentially on musicians. Through careful research and a NINETEENTH-CENTURY GERMAN the recorder’s golden age in the 18th cen- thorough reading of their sources, they MUSIC AND THE HERMENEUTICS tury, but it is intriguing to contemplate show persuasively that the picture of John- OF THE MOMENT. BY BERTHOLD how his detailed, allusive method of son as a shy amateur—miraculously pos- HOECKNER. Princeton University Press, analysis might be applied to the music of sessed of an almost otherworldly skill, 2002. 360 pp. Hardcover, $49.50. ISBN: the Renaissance and Baroque, perhaps in who believed in the supernatural to the 0691001499. terms of the wide-ranging religious signif- point of paranoia—was an image born of a Hermeneutics (from the Greek word icance found in much of the repertoire. combination of Romantic mythologizing for “interpretation”) is the study of mean- This is not a book for everyone, but for and ignorance of African-American cul- ing and interpretation in relation to a liter- those with a taste for philosophy, it offers ture, combined with a touch of pure huck- ary or musical work. It arose as a branch of a view of music of a sort not often encoun- sterism. scholarship in the 19th century as the tered in the world of the recorder. While acknowledging that the myth comparative study of biblical interpreta- helped to bring Johnson’s work to the at- tion, but by the early 20th century the dis- ROBERT JOHNSON: LOST AND tention of many thousands of people who cipline had broadened into a general liter- FOUND. BY BARRY LEE PEARSON AND BILL might not otherwise have heard it, the au- ary and musicological field of study—in MCCULLOCH. University of Illinois Press, thors make the case strongly that the au- music most notably in the work of authors 2003. 154 pp., $24.95. ISBN: thentic story of Johnson’s difficult, some- such as Theodor Adorno and Carl 025202835X. times violent, life as an itinerant musician Dahlhaus. Robert Johnson is one of the best- in the deep American South of the 1930s Berthold Hoeckner, an associate pro- known and most enigmatic of the early is more compelling and, in the end, more fessor of music and the humanities at the blues artists. His renown stems from the respectful of the singer than fairy tales University of Chicago (IL), has focused high quality of his recordings and their rar- about pacts with the devil. this erudite and densely-woven book on ity (he committed only 29 songs to disc) Despite a certain lack of continuity in the idea of the moment in Romantic Ger- the discussion from chapter to chapter, man music, examining how seemingly in- the book will be of interest to blues afi- consequential points of detail in a piece of Anyone who has gotten cionados as a hard-headed look at one of music can sometimes encapsulate the popular music’s seminal figures. It also work’s entire essence. Subsidiary topics lost in the past in stands as an object lesson to readers—and include the various ways in which notions authors—of musicology generally; about of vision and the human eye appear in the discussions of pitch should the need for contemporary context and repertoire, and how distance is used as a the ease with which a good story, if ac- crucial symbol in Romantic music. give it another try with cepted uncritically, can lead to fundamen- While each chapter in the book is an tal distortions of fact. independent study of one or two works by Haynes as a guide. a particular composer (ranging from A HISTORY OF PERFORMING PITCH: Beethoven to Schoenberg), Hoeckner’s and because of his early death in 1938 THE STORY OF “A.” BY BRUCE HAYNES. principal themes permeate the book, and while still only in his twenties. While Pear- The Scarecrow Press, 2002. 632 pp., $80. the reader is left with the paradoxical son and McCulloch tell the story of John- ISBN: 0810841851. image of a musical style that is, at its best, son’s life and discuss his music, their pri- Hard on the heels of The Eloquent Oboe, able to portray the most all-encompassing mary focus is on the facts surrounding the Bruce Haynes’s encyclopedic study of the truths through brief moments of dissemination of wild rumors that sprang early oboe for Oxford University Press, he epiphany. up very early, and are still alive today, con- has elaborated on his 1995 Ph.D. disserta- This is not an easy book to read, since cerning Johnson’s background and char- tion in this exhaustive study of performing it is as much a work of philosophy as one acter—especially a deal he is said to have pitch. of musicology. For those inclined to such made with the devil at a Mississippi cross- Even the most cursory glance at the discussion, however, Hoeckner’s style is at roads that made him the musician he was. topic of performing pitch reveals the enor- once challenging and uplifting, calling at- Pearson is a professor of English and mous complexity of the topic. Quite aside tention to the lofty ambitions and serious American studies at the University of from the difficulty of collecting evidence intent of the 19th century—ambitions of Maryland at College Park, and McCulloch from before the age of recordings, there are a kind that seem barely conceivable today. is a journalist; both are practicing blues continued on page 40
42 American Recorder Order your recorder discs through the ARS CD Club!
The ARS CD Club makes hard-to-find or limited release CDs by ARS members available to ARS members at the special price listed (non-members slightly higher), postage and handling included. An updated listing of all available CDs may be found at the ARS web site:
NEW LISTINGS ____FLEMISH CONTEMPORARY RECORDER MUSIC Geert Van Gele, recorder. Former Flanders ____ VIVALDI: LA NOTTE Concerti per strumenti Quartet member records his first solo CD live. diversi. Musica Pacifica. Judith Linsenberg, Works by JanPieter Biesemans, Boudewijn ____A. recorder; Elizabeth Blumenstock, violin; Gonzalo Buckinx, Frans Geysen, & Jan Van Landeghem. SCARLATTI: X. Ruiz, oboe, Marilyn Boenau, bassoon; David Qualiton. $17 ARS/$20 others. CONCERTI DI CAMERA Judith Linsenberg, Morris, cello; Michael Eagan, archlute; Charles ____FOLIAS FESTIVAS Belladonna Baroque Quartet. recorders; Musica Pacifica. Seven sona tas, various Sherman, harpsichord. This new award-winning Cl¯a Galhano, recorders.16-17th-century music by instrumentations. $17 ARS/$20 others. recording features five Vivaldi concerti and two Falconieri, de Tafalla, Merula, others. Dorian. $17 ____SHINE AND SHADE Piers Adams, recorder; sonatas. Dorian. $17 ARS/$20 others. ARS/$20 others. Julian Rhodes, harpsichord. Works of Norman Fulton, ____ SACRED AND SECULAR CANTATAS OF J. ____FRUIT OF A DIFFERENT VINE Alison Melville, Edmund Rubbra, York Bowen, Lennox Berkeley, oth- S. BACH. Carolina Baroque. Dale Higbee, Natalie Michaud & Colin Savage, recorders; A. Hall, ers. $17 ARS/$20 others. recorders; Teresa Radomski, soprano; John Pruett, piano. Works by Berkeley, Leigh, Staeps, ____SONGS IN THE GROUND Cl¯a Galhano, Baroque violin; Doris Powers, Baroque violin; Mary Hindemith. 1994 ARS Professional Recording Grant recorder, Vivian Montgomery, harpsichord. Works by Frances Boyce, Baroque viola; Selina Carter, CD. S.R.I. $17 ARS/$20 others. Pandolfi, Belanzanni, Vitali, Bach and contemporaries Baroque cello; Daniel Hannemann, harpsichord ____THE GREAT EMU WAR Batalla Famossa, an Thomas, Morrison and Setti, featuring songs based on and organ. Live performances of Bach s Cantata ensemble of young players records the first CD of grounds. 10,000 Lakes. $17 ARS/$20 others. BWV 82a, Ich habe genug, Cantata BWV 202, diverse Australian recorder music. Orpheus Music. SUZUKIfi RECORDER SCHOOL (Four vols.) Weichet nur, betr bte Schatten, and Cantata BWV $17 ARS/$20 others. Recordings to accompany the Suzukifi Recorder 209, Non sa che sia dolore. $17 ARS/$20 others. ____HANDEL: THE ITALIAN YEARS Elissa School method books, with Marion Verbruggen, IN STOCK (Partial listing) Berardi, recorder & Baroque flute; Philomel Baroque recorders. $17 ARS/$20 others, for each single CD, or Orchestra. Handel, Nel dolce dell oblio & Tra le $33 ARS/$40 others for any two Suzukifi CDs: ____THE AGE OF JOSQUIN: THE GRAND TOUR fiamme, two important pieces for obbligato recorder ____Vols. 1 & 2 for Soprano or Highland Park Recorder Society & Chamber & soprano; Telemann, Trio in F; Vivaldi, All ombra di Orchestra, Robert W. Butts, conductor. ____Vols. 1 & 2 for Alto sospetto. Dorian. $17 ARS/$20 others. RWB Productions. $17 ARS/$20 others. (Vols. 1 & 2: folk & children s songs, Baroque dances) ____IMAGINE II David Young, recorders. More con- ____ ARIAS, DUETS & BALLET MUSIC FROM ____Vols. 3 & 4 for Soprano: Handel, de la Guerre, others temporary interpretations of classic songs from the HANDEL OPERAS Carolina Baroque. Dale ____Vols. 3 & 4 for Alto: Handel, J.S. Bach, Purcell, others 1970s by Neil Young, Jim Croce, Carole King, and Higbee, recorders. New live recording of a wide Moody Blues. Universe Music. $17 ARS/$20 others. ____TELEMANN ALLA POLACCA REBEL, with selection of excerpts from operas of Handel, ____JOURNEY Wood N Flutes (Vicki Boeckman, Matthias Maute, recorders & traverso, play concerti including Alcina and Giulio Cesare in Egitto. $17 Gertie Johnsson & Pia Brinch Jensen, recorders). and suites by G.P. Telemann. . $17 ARS/$20 others. ARS/$20 others. Seven centuries of recorder the Middle Ages to ____TELEMANN: CHAMBER CANTATAS AND TRIO ____ BACH & HANDEL: BAROQUE MASTERS the present; works by Dufay, Machaut, Henry VIII, SONATAS Judith Linsenberg, recorders; Christine Carolina Baroque. Dale Higbee, recorders. Various Mogens Pederson, W.W. Van Nieuwkerk & Maute. Brandes, soprano, Jennifer Lane, mezzo-soprano, selections by Bach and Handel including excerpts Kadanza Classics. $17 ARS/$20 others. members of Musica Pacifica. Five cantatas from from several of the masters’ operas and cantatas, ____LANDSCAPES David Bellugi, recorders; Ali Harmonischer Gottesdienst (soprano, recorder & con- recorded in 2002 concert. $17 ARS/$20 others. Tajbakhsh and Chris Hayward, percussion. Virtual tinuo, or mezzo-soprano, violin & continuo); plus two ____ BACH: MUSIC TO CHALLENGE THE orchestra of recorders created single-handedly by trio sonatas from Sonatas Corellisantes (in the style of INTELLECT AND TOUCH THE HEART Carolina Bellugi. Three centuries of ethnic music by Encina, Corelli). Dorian. $17 ARS/$20 others. Baroque. Dale Higbee, recorders. Bach s Cantata Brouwer, Ortiz, Bartok. Frame. $17 ARS/$20 others. ____TRIO ATLANTICA Lisette Kielson, recorders; No. 21, Part One and Cantata No. 182. $17 ____LES AMIS DU BAROQUE Paul Nauta, Julie Elhard, viola da gamba, Paul Boehnke, harpsi- ARS/$20 others. recorder/Baroque flute; Koen Dieltiens, recorder; Jan chord. Works by Bach, Telemann, Mont¯clair, Leclair. ____BLOCKFL TENENSEMBLE WIEN de Winne, Baroque flute; Christina Mahler, cello; Trio Atlantica. $17 ARS/$20 others. Irmtraut Freiberg, Karin Heinisch, Susanne Jurdak, Shalev Ad-El, harpsichord/organ. Ensemble in CD title ____ VIVA VOCE! TWO MINI-OPERAS BY HAN- Eva Maria Kaukal & Prisca Loeffler, recorders. plays music by Bassani, Corelli, Vivaldi, etc. Highlight DEL (2-CDs, live) Carolina Baroque. Dale Higbee, Ensemble music for three-five players (sopranino in Intl. $17 ARS/$20 others. recorders. Acis and Galatea & Apollo and Daphne g to great-bass in F); compositions by J.Chr. ____MANCINI: CONCERTI DI CAMERA Judith are "two of the most charming works from the Demantius, J. Hilton, M. Kaeser, Monteverdi, Linsenberg, recorders; Musica Pacifica. Seven sona- Baroque era." American Recorder. $24 ARS/$28 others. Morley, Mozart, W. W. van Nieuwkerk, Pachelbel, tas by Mancini, plus works from his contemporaries Reichardt, Schermann. $17 ARS/$20 others. Please indicate above the CDs you wish to order, Durante and D. Scarlatti. Highly recommended cita- ____CHARLESTON PRO MUSICA ON TOUR and print clearly the following: tion from the 2000 Vivaldi Prize Giorgio Cini Marsha Evans, Lewis Fitch & others, recorders, Foundation, Venice. Dorian. $17 ARS/$20 others. Name ______gemshorns, guitar and voice. Medieval and ____MIDNIGHT SUN Alison Melville & Colin Savage, Daytime phone: (_____) ______Renaissance music with consort and singers. recorders; Ensemble Polaris members playing flute, Address: ______Millennium Music/ Charleston SC. $17 ARS/$20 others. clarinet, guitar, cello, hurdy-gurdy, percussion. New ____AIRES AND DUETS FOR TWO FLUTES AND City/State/Zip: ______arrangements of traditional music of Norway, Finland, BASS Vicki Boeckman & Dorte Lester Nauta, recorder; Estonia, Sweden, Scotland. Classic CD Disc of the Check enclosed for Mogens Rasmussen, viola da gamba; Viggo Mangor, Month, August 2000. Dorian. $17 ARS/$20 others. _____ single CDs x $____ = $______archlute & chamber organ. Trio sonatas by Handel, ____MY THING IS MY OWN: BAWDY MUSIC OF _____ 2-CD sets x $____ = $______Telemann, G. B. Braun, Merula, S. Rossi. Primavera. THOMAS D URFEY Tina Chancey, Grant Herreid & TOTAL = $______$17 ARS/$20 others. Scott Reiss, recorders & other early instruments; Please charge the above amount to my MasterCard or ____CONCERTI DI NAPOLI Rebel: Matthias Maute, Rosa Lamoreaux, soprano. Common tunes of love, Visa:#______recorders; J rg-Michael Schwarz & Karen Marie sex & seduction in 18th-century England, collected Marmer, violin; John Moran, cello; Dongsok Shin, Exp. Date: ______by D Urfey in Pills to Purge Melancholy, used in harpsichord. Sonatas by Mancini, Roberto Valentini, A. Cardholder s signature: ______improvisations. Koch Int l. $17 ARS/$20 others. Scarlatti. Dorian. $17 ARS/$20 others. ____POPULAR MUSIC OF THE RENAISSANCE, AMERICAN RECORDER SOCIETY, ____DREAMS INSIDE THE AIR TUNNEL Anne & Rob Burns (A Reasonable Facsimile) play Box 631, Littleton, CO 80160-0631, U.S.A. Zana Clarke, recorder & composer. Drawing on the recorders, cittern, guitar, straw fiddle, drums, whistles, You may fax or call in your credit card order music of the didjeridu & shakuhachi...beautiful & pipes. Second From the Bottom. $17 ARS/$20 others. to 303-347-1181. hypnotic... American Recorder. Orpheus Music. $17 ARS/$20 others. BOOK REVIEWS CONSIDER ADVERTISING IN (cont.) ______CLASSIFIED ______Full page ...... $540 2/3 page ...... $400 questions regarding the very meaning 1/2 page ...... $330 of what constitutes a pitch standard. In 1/3 page ...... $255 1/4 page ...... $200 the absence of any means of measuring Where the haves 1/6 page ...... $155 pitch frequency and without easy com- and have-nots 1/8 page ...... $115 munication between cities, the pitch “A” 1/12 page...... $ 85 1 column inch ...... $ 50 in one place could be heard as any one of of the recorder world a wide range of pitches in other localities. Prices include web site/e-mail link directly from can find each other your ad in AR On-line (www.recorderonline.org). Even within one city, various establish- ments—say, church and court—could be Circulation: Includes the membership of the American Recorder Society, libraries, and working at completely different pitches. music organizations. Added to all this is the constant change A CHEERFULL NOYSE. Selling recorders, other instru- Published five times a year: January, March, May, brought about by historical develop- ments, sheet music and accessories for early music. Be September, November. ments. sure to read “Playing The Recorder Only Seems Easy” Reservation Deadlines: December 1, February 1, With his typical thoroughness, online, each month. Customer service is our April 1, August 1, October 1. Haynes has spent many years collecting middle name. www.acheerfullnoyse.com, Rates good through November 2003. Please inquire written evidence, measuring surviving in- [email protected]. about discounts on multiple-issue contracts, inserts, struments, and consulting with col- or other special requests. Extra charges for THE AMERICAN RECORDER TEACHERS' typesetting, layout, halftones, and size alterations. leagues in order to piece together a logical 133-line screen recommended. Advertising subject and consistent understanding of the ASSOCIATION (ARTA) invites you to view our web- to acceptance by magazine. First-time advertisers changing pitch standards throughout Eu- site at
44 American Recorder