Published by the American Recorder Society, Vol. LVIII, No. 4 • www.americanrecorder.org winter 2017 winter

Editor’s ______Note ______Volume LVIII, Number 4 Winter 2017 Features love a good mystery, and read with interest David Lasocki’s article excerpted Juan I and his Flahutes: What really happened Ifrom his upcoming book—this piece seek- in Medieval Aragón? ...... 16 recorder in Medieval ing answers about the Aragón By David Lasocki (page 16). While the question of  what happened may never be definitively Departments answered, this historical analysis gives us possibilities (and it’s fortunate that research Advertiser Index ...... 32 was completed before the risks increased even more for travel in modern ). Compact Disc Reviews ...... 9 Compact Disc Reviews give us a Two sets of quintets: Seldom Sene and means to hear Spanish music from slightly later, played by Seldom Sene, plus we Flanders Recorder Quartet with Saskia Coolen can enjoy a penultimate CD in the long Education ...... 13  Flanders Recorder Quartet collaboration Aldo Abreu is impressed with the proficiency of (page 9). In Music Reviews, there is music to play that is connected to Aragón and to young recorder players in Taiwan others mentioned in this issue (page 26). Numerous studies tout the benefits to Music Reviews...... 26 a mature person who plays music, but now Baroque works, plus others by Fulvio Caldini there is a study that outlines measurable benefits for the listener, as well (page 6). As I President’s Message ...... 3 write these words, it’s Hospice and Palliative  ARS President David Podeschi on the Care Month. While an “awareness month” can draw needed attention to an issue or trend of living vs. having activity, it’s always been evident to me that Tidings ...... 4 recorder players generously share their tal- Focus on ARS Business Members (page 12); ents year-round with aging friends and acquaintances. I hope that you will continue Karin Brookes named EMA Executive Director; to do so, now knowing even more of music’s folk donated by Connie Primus to Recorder benefits—to both performers and audience. Music Center; positive effects of music in palliative Gail Nickless  www.youtube.com/americanrecordermag care; online with Serpents www.facebook.com/groups/americanrecordersociety

Gail Nickless, Editor ON THE COVER: Contributing Editors Serra, Pedro Tom Bickley, Compact Disc Reviews • Mary Halverson Waldo, Education (2nd half 14th CE). Amanda Pond & Cynthia W. Shelmerdine, Line Editors Madonna and Child with angels. Photo Credit : Advisory Board Scala I Art Resource, NY Martha Bixler • Valerie Horst • David Lasocki • Bob Marvin ©Art Resource, NY Thomas Prescott • Kenneth Wollitz www.AmericanRecorder.org Copyright©2017 American Recorder Society, Inc. ARS Chapters & Recorder Orchestras Alabama Illinois Triad–Greensboro: Birmingham: Chicago: Ben Eisenstein 847-998-0198 Susan Benson 252-414-4044 Janice Williams 205-870-7443 Chicago–West Suburban: Triangle: Jan Jenkins 919-870-0759 Arizona Joanne Miller 630-359-8750 Ohio Indiana Desert Pipes (Phoenix): Greater Cleveland: AMERICAN Karen Grover 623-687-4791 Recorder Orchestra of the Midwest: Edith Yerger 440-826-0716 Arizona Central Highlands–Prescott: Marilyn Perlmutter 419-265-3537 Toledo: Charles Terbille 419-474-6572 RECORDER Georgeanne Hanna 928-775-5856 Oregon Tucson: Scott Mason 520-721-0846 Louisiana Arkansas New Orleans: Victoria Blanchard Eugene: Lynne Coates 541-345-5235 SOCIETY 504-810-8540 Oregon Coast: INC. Aeolus Konsort: Jane Boyden 541-994-5198 Don Wold 501-666-2787 Maryland Portland: Honorary President California Northern Maryland: Susan Campbell 503-288-4024 Richard Spittel 410-242-3395 Recorder Orchestra of Oregon– Erich Katz (1900-1973) Barbary Coast Recorder Orchestra: Frances Feldon 510-527-9029 Massachusetts Portland: Laura Kuhlman 503-234-2530 Honorary Vice President Central Coast Recorder Society: Boston: Winifred Jaeger Karen Bergen 310-850-1227 Henia Yacubowicz 978-857-7418 Pennsylvania East Bay: Susan Jaffe 510-482-4993 Recorders/ Metro-West Bloomsburg Early Music Ens.: Statement of Purpose Inland Riverside: Boston: Bonnie Kelly 781-862-2894 Susan Brook 570-784-8363 Greg Taber 951-683-8744 Worcester Hills: The mission of the American Recorder Society Erie: Linda McWilliams 814-868-3059 Los Angeles Recorder Orchestra: Bob Bodman 603-424-8646 is to promote the recorder and its music by Philadelphia: Matt Ross 949-697-8693 Michigan developing resources to help people of all ages Mid-Peninsula Recorder Orchestra– William Bowie 215-884-5041 Alto: Fred Palmer 650-591-3648 Ann Arbor: Pittsburgh: and ability levels to play and study the recorder, Nevada City: Kevin Gilson 734-780-7476 Helen Thornton 412-486-0482 presenting the instrument to new constituencies, Miriam Morris 530-265-0986 Kalamazoo: Rhode Island encouraging increased career opportunities for North Coast: Kathleen Kinkela-Love David Fischer 269-375-0457 707-822-8835 Metropolitan Detroit: Rhode Island: professional recorder performers and teachers, Orange County: Molly Sieg 313-532-4986 David Bojar 401-944-3395 and enabling and supporting recorder playing as Win Aldrich 909-625-7722 Northwinds Recorder Society: Tennessee Redding: Kay Hettich 530-241-8107 Cynthia Donahey 231-526-7157 a shared social experience. Besides this journal, Sacramento: Western Michigan: Greater Knoxville: ARS publishes a newsletter, a personal study Mark Schiffer 916-685-7684 Jocelyn Shaw 231-740-8110 Ann Stierli 828-877-5675 program, a directory, and special musical San Diego County: Minnesota Greater Memphis: Vanessa Evans 619-297-2095 Samuel Sidhom 901-848-1955 editions. Society members gather and play San Francisco: Twin Cities: Greater Nashville: Anne Mundahl 651-895-5049 together at chapter meetings, weekend Greta Haug–Hryciw 415-377-4444 Carol Vander Wal 615-226-2952 Sonoma County: Missouri and summer workshops, and many Texas Nancy Kesselring 707-823-7455 Heartland Rec. Orchestra–Warrensburg: ARS-sponsored events throughout the year. South Bay: Ani Mahler 408-638-0161 Patrick Larkin 660-909-1835 Austin: Derek Wills 512-471-3424 Southern California: St. Louis: Cora Lippi 314-614 0042 Dallas: Alice Derbyshire 940-300-5345 In 2014, the Society celebrated 75 years Ricardo Beron 818-782-0710 Nevada Fort Worth–Cowtown Recorder of service to its constituents. Colorado Society: David Kemp 940-224-7896 Las Vegas: Buddy Collier 702-610-6148 Boulder: Trudy Wayne 303-651-6860 Rio Grande: Sierra Early Music Society: Marcia Fountain 915-544-3427 Colorado Recorder Orchestra: Kay Judson 775-742-4507 Board of Directors Rose Marie Terada 303-666-4307 Utah Denver: Joice Gibson 303-249-5735 New Hampshire David Podeschi, President Utah Salt Lake: Fort Collins: Pattie Cowell Monadnock: Mary Johnson 801-272-9015 Ruth Seib, Vice-President, Asst. Treasurer 970-484-0305 Kristine Schramel 413-648-9916 Jennifer Carpenter, Secretary and Connecticut & Lynn Herzog 802-254-1223 Vermont Communications Chair Connecticut: New Jersey Monadnock: Wendy Powers, Treasurer John Vandermeulen 203-810-4831 Bergen County: Kristine Schramel 413-648-9916 Eastern Connecticut: Reita Powell 201-944-2027 & Lynn Herzog 802-254-1223 Alice Derbyshire, Asst. Secretary and Betty Monahan 860-536-7368 Highland Park: Virginia Membership Chair District of Columbia Donna Messer 732-828-7421 Montclair Early Music: Northern Virginia: Mollie Habermeier, Governance Chair Washington: Julianne Pape 845-943-0610 Edward Friedler 703-425-1324 David Melanson, Educational Outreach, Daniel Bruner 202-669-3388 Princeton: Shenandoah–Charlottesville: Grants & Scholarships Chair Delaware MaryJoan Gaynor 609-924-8142 Gary Porter 434-284-2995 Tidewater–Williamsburg: Barbara Prescott, Fundraising Chair Brandywine: New Mexico Roger Matsumoto 302-731-1430 Vicki H. Hall 757-784-2698 James Chaudoir Albuquerque: Florida Bryan Bingham 505-299-0052 Washington Nancy Gorbman Rio Grande: Largo/St. Petersburg: Moss Bay: Greta Haug–Hryciw Marcia Fountain 915-544-3427 Michael Bancroft 206-523-6668 Elizabeth Snedeker 727-596-7813 Santa Fe: John O’Donnell 505-662-5745 Anne Timberlake Miami: Ruth Trencher 305-665-3380 Recorder Orchestra of Puget Sound: Orlando Consort: New York Charles Coldwell 206-328-8238 Cheri Grayson 407-299-3076 Buffalo: Bonnie Sommer 716-662-5975 Seattle: Laura Faber 206-619-0671 Staff Palm Beach: East End Recorder Ens. (Montauk): Wisconsin Susan Burns, Administrative Director Beverly Lomer 954-592-2852 Tom Dunfee 917-561-0575 Pensacola: Hudson Mohawk: Milwaukee: Julia Ward, Administrative Assistant Charles Tucker 805-525-8256 Kathryn Kuhrt 518-477-8450 Deborah Dorn 414-405-1081 P. O. Box 480054 Sarasota: Long Island: Pat Cassin 516-238-6924 Southern Wisconsin: Charlotte, NC 28269-5300 Charlotte Trautwein 941-504-9594 New York City: Greg Higby 608-256-0065 Georgia Natalie Lebert 212-666-7606 Canada 704-509-1422; tollfree 1-844-509-1422 Recorder Orchestra of New York: 866-773-1538 fax Atlanta: Mickey Gillmor 404-872-0166 Karen Wexler 631-751-5969 Edmonton: Vince Kelly 780-436-9064 Hawaii Merrie Pipers Rec. Orch.–Kelowna, BC: [email protected] Rochester: Jessica Brennan Big Island: Garrett Webb 808-960-3650 585-683-2802 Bruce Sankey 250-766-1550 www.AmericanRecorder.org Hawaii: Irene Sakimoto 808-734-5909 Westchester: Montréal: Mary McCutcheon Erica Babad 914-769-5236 514-271-6650 In accordance with the Internal Revenue Service West Hawaii Recorders: Marilyn Bernhardt 808-882-7251 North Carolina Toronto: Sharon Geens 416-699-0517 Taxpayer Bill of Rights 2, passed by the United States Vancouver: Congress in 1996, the American Recorder Society makes Idaho Carolina Mountains: Susan Hartley 423-612-0421 Tony Griffiths 604-222-0457 freely available through its office financial and Les Bois–Boise: Greenville Recorder Society: incorporation documents complying with that regulation. Kim Wardwell 360-202-3427 Jon Shaw 252-355-2737 Please contact the ARS office to update chapter listings.

2 Winter 2017 American Recorder President’s Message ______Greetings from David Podeschi, ARS President [email protected]

here’s this trend, quite prevalent As recorder players, we the larger group, I was amazed at the among millennials, of rejecting experience. I told a friend it was like buyingT stuff in favor of spending are ... well ahead of this being a in a pipe organ. money and time on experiences. trend of living vs. having. Then there is renewing friend- Why buy a house and a car in the ships once a year at a favorite work- suburbs when you can rent and use As recorder players, we are, and shop, or two, or three … and the expe- ride-sharing in the city, a place always have been, well ahead of this rience of playing with different people teeming with experience possibilities? trend of living vs. having. It seems to and learning from different teachers. The money saved can go towards me that the joy of experiences is what Before an experience, we enjoy a hiking trip at Macchu Picchu. Spend the recorder world is all about. Playing the anticipation of it; past experiences big on a 60" TV? Nah. My grandson every week with your consort—playing grow larger in memory. I‘m looking watched every season of Game of well with everything clicking—is like forward to a workshop in Tuscany Thrones on his phone! what athletes call being “in the zone.” next September, 11 months away! While shelling out for experi- Or it’s seeing friends regularly every So the consumers of experiences ences to enhance life, a big part of month at the chapter meeting and rather than of stuff have just discovered this trend—maybe even a driver playing in the larger group. what we’ve known all along. of it—is sharing it via social media. The first time I went to a chapter One caveat: rejecting buying stuff meeting, and played decently as part of does not extend to new recorders!

www.AmericanRecorder.org Winter 2017 3 Tidings ______Constance M. Primus Folk Collection, ______public art featuring recorders, Serpent news Recorder Music Center provides New Home for the "Constance M. Primus Folk Flute Collection" Text and photos by early interest into the history of the Among my personal Mark Davenport, Denver, CO instruments. Over the years she contin- ued to collect or receive others, brought favorites is a globular As director of the Recorder Music back to her from the near or far-off clay whistle flute of Center (RMC) at Regis University in places where her students, friends and a quena player. Denver, CO, I’m always on the lookout family members traveled. “At home,” for unusual music or instruments that she recalls, “they were displayed on my flutes were presented in regional might add to the center’s special collec- music room shelves or walls, readily exhibitions (the Arvada Center for tions. When Connie Primus, a long- available for all to play and admire.” the Arts and Humanities near Denver, time recorder and flute player and for- What started as a fun pastime for example). mer ARS president, asked if the RMC developed into a more serious under- When she and her husband might be interested in her folk flute taking when Primus became inspired Bob brought the collection to Regis, collection, I wasn’t quite sure—that is, by studying the Dayton C. Miller Flute I was happy to see that it had been until she started to tell me about her Collection in the Library of Congress. meticulously organized, with all of fascinating treasure trove of mostly By the early 1970s, she began giving the small flutes numbered and accom- diminutive instruments that she has programs using her flute collection for panied by a detailed inventory— collected for over half a century. demonstrations for schools And after all, the recorder is a and community groups. flute—why be such a snob about our “Along with describing little cousins? I’m happy to report that each flute and its cultural the center is now the proud caretaker role,” she explains, “I of her wonderful collection! improvised on it to show “My husband, Bob, bought my its unique scale and tone first folk flute from a street peddler in quality.” By the 1980s, Tokyo in 1954,” Primus says about her some of her more unusual

4 Winter 2017 American Recorder A few of the 178 flutes in the collec- tion—these are globular flutes and whistles: previous page, #21, horned toad from Mexico; #11, quena player from U.S.; this page, from top: #47-48, two handpainted flutes from Peru; #65, one in the shape of a dragon from the U.S.

178 flutes in total! The collection is arranged by flute type and geographic location: Globular Flutes; Panpipes; Transverse Flutes; Vertical Flutes from Central and South America and the Middle East; Pipes and Tin Whistles; and Primitive and Ancient Flutes. Over 30 countries are represented, from inexpensive plastic souvenirs to more valuable pre-Columbian clay flutes. Primus has graciously included some of her teaching materials, including folders with paper and article clippings as well as her own notes about each instru- Do you have recorder music, ment. Additionally, there is a small collection of books, pamphlets, and even some recordings or instrume­ nts cassette recordings that can be used as further sources of information. that you would con­sider Among my personal favorites is a globular clay whistle flute of a quena player donating to the RMC? that Primus purchased in 1981 in Steamboat Springs, CO, for $12 (#11, shown on For information about previous page). The little clay-vested man appears to be clutching the instrument donating or about the RMC, more than playing it. I love the details and mood of his facial expression, but I had please contact: to search for the blowhole (in back of the trousers). The windway is on the back of the neck, where just one fingerhole is also located. Dr. Mark Davenport At Regis, the collection will be added to the RMC Regis University Collection. We plan to make the collection available to faculty and students Mail Code C-4 alike, for special research projects in our World Music classes. One possibility is Department of Fine to present an exhibit at the Dayton Library at Regis as part of a class project. After & Performing Arts 27 years of college teaching I still never know what might interest an 18-year-old 3333 Regis Boulevard freshman. For the past couple of years it’s been the ukulele. Maybe next year, there Denver, CO 80221-1099 will be enthusiasm for starting a folk flute ensemble. Wouldn’t that be great?! [email protected] Mark Davenport is the founder and director of the Recorder Music Center at Regis University where he is Professor of Music. 303-964-3609

www.AmericanRecorder.org Winter 2017 5 Bits & Pieces San Francisco Early Music Society's organizing committee. Look for Fringe registration to begin in mid-February; visit www.berkeleyfestival.org. The BFX exhibition is set for June 7-9 at Berkeley's First Presby­ A recent issue of English scientific terian Church. This is a new venue for magazine Palliative & Supportive Care the exhibition, after a massive fire in (Cambridge University Press) pub- fall 2016 closed First Congregatio­ nal lished results of a study on the impact Church, now partly reopened. of concerts on the psy- Colorado Case Company —the youtube.com/americanrecordermag, chological state and well-being of hos- makers of Jean Cavallaro recorder rolls plus Martin Skowroneck, Hermann pitalized cancer patients. Led by Italian and soft cases for other instruments— Moeck, Bob Marvin and Frederick psycho-oncologists Alessandro closed permanently in summer 2017. Morgan) and he debuted the DVD Toccafondi and Andrea Bonacchi, While there is no clear information for participants. The DVD will be the study of 242 cancer patients used that anyone else will take up that trade- reviewed in an upcoming issue of AR. standard scales plus self-reported scales mark, there is a new source producing A video of Tom Bickley's compo- to measure pain, fatigue and five areas Canzonet soft cases for recorders: the sition 108: a Mala for Pauline is posted of well-being (physical, psychological, Dill Pickle Gear division of , LLC, at https://youtu.be/4IvUm9kZg4A. The relational, spiritual, overall well-being). www.canzonet.net. In addition to roll 103 patients who attended a May 7 premiere performance, about 35 The cases, designed by Emily O'Brien, the classical concert during hospitaliza- minutes long and using 15 performers, company carries CDs and accessories was in a room with Han Dynasty bells tion exhibited benefits including less such as neckstraps. (photo above of Bickley) at the Asian Art distress, plus they scored higher on all With the help of Gotham Early Museum in San Francisco, CA, as part well-being scales. Details and reports Music Scene in New York City (NYC), of Music for the Afterlife. The score is on other studies involving the effects of S'Cool Sounds NY, is now an inde- available on the ARS web site. music are at www.cambridge.org/core/ pendent 501(c)(3) non-profit organiza- On July 21, Bickley played journals/palliative-and-supportive-care tion. Founded in 2002 by artistic direc- recorder in some of the late Pauline (search Palliative & Supportive Care for Nina Stern tor out of a desire to share Oliveros's works with an ensemble of “music cancer”). the joy of music-making with NYC Berkeley (CA) Festival & other instruments as part of Now Hear The children, S'Cool Sounds has expanded http://montalvoarts.org/events/ Exhibition BFX This! ( ( ) will take place its mission worldwide, including efforts now_hear_this_2017/adwords). June 3-10, 2018. Robert Dawson in Kenya and with Syrian refugees in Oliveros, founder of the concept of has returned to serve as coordinator AR Jordan (see the Winter 2016 ). To “Deep Listening,” died in 2016 at age for the Fringe Festival, assisting the make a tax-deductible donation, visit 84. Among the first to receive the www.scoolsounds.org/donate ; even a Certificate in Deep Listening in 1999, $5 donation helps purchase a recorder. Bickley has taught Deep Listening Jacob Saya Led by music teacher , to students in the UK, U.S. locations a S'Cool Sounds partner school in the including Honolulu, HI, and New •Recitals Kibera slum of Nairobi recently won Zealand, Australia and Japan. first prize in the Kenyan National Music competition. Changing Notes •Workshops Daniël Brüggen's documentary, Starting with its December issue, Master Makers: Crafting Recorders After the UK's Recorder Magazine (RM) •Skype Lessons Originals, is now available on DVD in Barbara Law has a new editor: NTSC format. On October 26 at ([email protected]). She replaces Open Recorder Days Amsterdam, Laura Justice, editor for the last six [email protected] Brüg­gen showed two segments from years. The interim issue of RM had a www.LEnsemblePortique.com the documentary in which he inter- guest editor: Andrew Mayes, a former Friedrich views five recorder makers ( editor and frequent contributor to RM 309.828.1724 von Huene www. , whose portion is at as well as an author on early music top- 6 Winter 2017 American Recorder ics. The publishers remain the same: Peacock Press, Ruth and Jeremy Burbidge, www.recordermail.co.uk. Nik Tarasov was elected president by the 500+ members of the German branch of the European Recorder Teachers Association (ERTA). Various European countries sponsor independent ERTA organizations. Tarasov and his executive board recently organized a recorder congress at the former Michaelstein monastery near Blankenburg, with the theme “The Recorder as a Popular Instrument­ in Past and Present.” Lectures covered the recorder's use from the to current computer apps for teaching ing, speaking on his research on ver­sity music department professor the instrument, plus pop and rock Tunisian music, “Open the Doors: Ross Duffin, who was honored during music (including a session in which Songs of Child Welfare in Tunisia.” fall convocation as one of four new Tarasov participated, following two (See Tidings in the Spring 2017 AR Distinguished University Prof­essors: years of preparation). Tarasov is for some background.) http://thedaily.case.edu/ross-duffin- editor of both music publishing house Closer to home for Cynthia musicologist-whose-influence-can- Aura-Edition (www.aura-edition.de) Shelmerdine, the Hellenic Society of heard-around-world-awarded-distin- and Windkanal magazine (www.wind- Maine's October meeting included her guished-university-professorship. In kanal.de/en/articles-in-english, and is paper entitled “Mycenaean Pylos and addition to his influence heard through known for his work in developing the the Kingdom of Nestor.” his many students, he also hosted and electro-acoustic recorder, the Elody, Elsewhere in academia: congratu- produced Micrologus, syndicated for with Mollenhauer. lations to Case Western Reserve Uni­ 18 years on National Public Radio. The next ERTA Germany con- A Note from our Musical Cousins, the Serpents gress, planned for 2019 in Stuttgart, : Recent issues of the Serpent www.YouTube.com will focus on intermediate recorder rep- Newsletter report postings on of videos of varying quality ertory, in varying styles and combina- featuring serpents or ophicleides (search for “serpent instrument”). Be fore- tions, geared to students at that level warned: some are informative, such as one showing an orchestra performing the www.youtube.com/ and to their teachers. Dies Irae section of Hector Berlioz's Symphonie Fantastique ( watch?v=lZzr4xXPeyw&list=PLQR63u41EdeylCZIVDtNCc1OTXPqLGkuX); or Veni, vidi, dixi those posted on Doug Yeo's channel, or ones with Phil Humphries (including Mark Davenport traveled to Lisbon, video from the Boston Revels.) With others, says excellent editor Paul Schmidt , in October to deliver a of the Serpent News­letter, “You won't know whether to laugh or cry.” paper at an international conference, For more about serpents, including plans to build your own Squarpent “Invisible Republic: Music, Lettrism, (a DIY instrument reminis- Avant-Gardes,” https://invisiblerepub- cent of Paetzold recorders), www.serpentwebsite.com. lic.info. Drawing from that paper and visit his book in progress, on the artist com- An irresistible postscript munity in the U.S. , he plans an AR must be a web site showing article including new material on the an historical postcard collec- early involvement of LaNoue Daven­ tion, featuring the ophicleide port and Shelley Gruskin in the (example at right). The collec- recorder movement of the 1940s-’60s. tion belongs to professional Mike Brubaker Also in October, Alan Karass horn player : http://temposenzatempo. was in Denver, CO, for the Society for blogspot.com/2013/07/monsieur-le-cure-and-his-ophicleide.html. Ethnomusicology 62nd annual meet-

www.AmericanRecorder.org Winter 2017 7 News from Early Music America (EMA) A UK native, Brookes lived and worked in London, EMA has named Karin Brookes as its executive director, Philadelphia (PA) and Glasgow before moving to Seattle following the resignation of Ann Felter to pursue other pro- with her family in 2011. Early music has been woven into fessional opportunities after serving EMA for five years. The her life. Before moving to the U.S., she was assistant to EMA Board’s search committee met in its final selection Christopher Hogwood and manager of the Choir of King’s phase last June at the Boston Early Music Festival, one of College, Cambridge. Besides singing in many early music Felter’s last public events representing EMA. choirs, ​Brookes has degrees in French and music from the Brookes previously worked at several Seattle (WA) early Universities of Edinburgh and Cambridge, and a Master of music entities: as Development Director since 2015 for Early Journalism degree from Temple University in Philadelphia. Music Seattle, and for the Northwest Boychoir and Pacific EMA has announced other upcoming changes. Its MusicWorks. She began her EMA position in September eighth annual Young Performers Festival (YPF) will be and can be reached at [email protected]. held May 24-26, 2018, during the Bloomington (IN) Early Music Festival (set for May 18-27, 2018) and in partnership “North America has had a thriving early with the Indiana University Jacobs School of Music and its music scene for many years.... I look Historical Performance Institute. Alongside the YPF for the forward to doing everything I can to first time, on the same dates, is a Showcase for Emerging ensure that as many people as possible Artists and Ensembles, to highlight historically-informed have the opportunity to experience the performers of all types, without respect to age. (Applications fabulous music we love.” —Karin Brookes for both were due in November.) For details visit www.earlymusicamerica.org. Recorders in New York City You could probably pick six Telemann duets at random and have a perfectly good program, but these were particu- By Judith Anne Wink, New York City, NY larly well chosen. They cover a 24-year period in Telemann’s career and have more than enough melodic Georg Philipp Telemann is a true music master of the and harmonic variety to avoid the feeling, all too common 18th century. His Opus 2 duets are well known by both at Baroque concerts, that you’ve been listening to the same amateurs and professionals. An October 5 lunchtime pro- piece over and over again. The playful chromatic scales in gram—for Gotham Early Music Scene's Midtown the second piece, Sonata TWV40:128 in C minor, were Concerts, which sponsor free performances of music of especially ear-catching, but each of these sonatas had the 18th century and earlier at St. Bartholomew's Church its own distinctive flavor. in midtown New York City (NYC)—offered six of Telemann believed in mass appeal. “He who writes for Telemann's lesser-known and later works from Der getreue the many,” he told his students, “does better work than he Music-Meister (Germany's first music periodical) and also who writes for the few.” This is the secret of his popularity: from a 1752 manuscript of his duo pieces, which survives in music that makes sense to ordinary people without insult- the Civico Museo Bibliografico Musicale in Bologna, . ing their taste or their intelligence. Morris Newman, the grand old man of the NYC Well-known NYC performers, Booth and Schulman recorder scene, used to call Telemann a monster. This was a have played together in several ensembles including compliment. It implied genius at a terrifying level. Even if Ensemble BREVE, Orchestra of St. Luke's, Long Island you’re not scared of Telemann, you’ve got to be awestruck Baroque Ensemble and others. by the size and quality of his output. The Guinness Book of Booth and Schulman certainly know what to do with Records says he was the most prolific composer of all time— this kind of music. Hearing them play was like listening to with hundreds of works to his credit, including dozens of a conversation between two intelligent friends who have a pieces for the recorder, an instrument that he learned to lot of interesting things to say to each other. Their tech- play as a child and for which he never lost his affection. nique was flawless, their playing clean and vigorous, and A good-sized crowd got to hear these six pieces by the they had a good firm grip on the notion that it’s the musi- master on the October concert featuring Deborah Booth, cian’s job to let the composer speak for himself. recorder and Baroque flute, and Louise Schulman, viola. When one of Newman’s classes finished playing a Schulman said later that she and Booth had read through piece, he would always ask, “Can you hear the composer?” every duet Telemann ever wrote and decided that these At this concert, thanks to the wonderful musical sensitivity were their favorites. of these performers, we heard Telemann loud and clear.

8 Winter 2017 American Recorder Compact Disc Reviews ______Two discs, each times five

[email protected], http://tigergarage.org Reviewed by Tom Bickley, The quintet's sound is 5 [ f i v e ]. Flanders Recorder Quartet fuller and more orchestral & Saskia Coolen. Aeolus AE-10276, 2017, 1 CD (SACD), 64:30. Abt. $21 via than the quartet's sound. http://shop.flanders-recorder-quartet.be/shop/5-five-2017- 2/?lang=en, $16.50+$3.95 S&H at www.prestoclassical. on Baroque recorders. The word co.uk/r/Aeolus/AE10276 or $20+S&H at www.vonhuene. “haunting” describes both of these com/p-6032-5-f-i-v-e-flanders-recorder-quartet-with- newer works, as do the adjectives saskia-coolen.aspx “spritely,” “evocative” and “engaging.” In the program notes of this marvelous CD, Flanders Recorder Quartet The blending of solo lines, plus (FRQ) member Bart Spanhove sums up the repertory in one sentence: “This CD duo lines alongside accompaniment, is is an anthology of five hundred years of music history in a nutshell, combining the demonstrated in arrangements of two intimate sonority of old masterpieces with a touch of jazz and haunting works by big band pieces, as well as in passages contemporary composers.” in the suite from Schein’s Banchetto While it seems difficult to grapple with the implications of the decision by Musicale and in pieces by Lully (both the FRQ to disband after 30 years together, this CD reminds us of the wonders of father and son). The polyphonic tex- the past 30 years—and the wonders that await in their individual contributions tures of most of the other works on in years to come. To my ears, this recording of quintet literature (featuring FRQ the CD contain more equal distribu- plus Dutch recorder professional Saskia Coolen) represents both past and future. tion of lines. Part of the charm of this The final tour of the four members of FRQ, with occasional guests, is under- disc is the variety in roles of the instru- way; http://flanders-recorder-quartet.be/en/agenda/ lists the dates and locations. ments, and the balanced use of high This disc, entitled 5 [ f i v e ], is a program of 14 pieces that would create a and low instruments. very effective live concert. The ensemble works beautifully together (practicing Each track on this collection what Spanhove advocates in The Finishing Touch of Ensemble Playing, Alamire, has its merits, although some stand out, 2000), seamlessly integrating Coolen’s participation. The quintet's sound is fuller particularly to my ears. The stunning and more orchestral than the quartet's sound. timbre of five voice flutes in the con- The repertory demonstrates a variety of approaches to the use of five instru- certo by Joseph Bodin de Boismortier ments. Pieter Campo’s 2002 set of pieces, Meditativo and Vuur (Fire) for Renais­ (note the unison lines in the first of the sance consort, provides passages with a solo or solo lines over ensemble accompa- two allegro movements); the dance nying figures, as does Sören Sieg’s distinctly African-sounding Inxaxheba, played rhythms in the opening and closing

www.AmericanRecorder.org Winter 2017 9 www.iTunes.com movements of Sieg’s Inxaxheba; the . Full album can Seldom Sene finds a lush harmonies in Fred E. Ahlert’s be streamed on YouTube at: jazzy I Don’t Know Why I Love You Like https://youtu.be/mwsEiz1pDyI. thoroughly nuanced I Do; and the building of the chords at It’s an interesting coincidence that, balance by embracing the beginning of Campo’s Medita­ though the two CDs reviewed in this the vocal origins of tivo—all linger in my sonic memory. column differ in the number of pieces, The photographs and readable, both have 21 tracks of recorder quin- most of these works informative notes, combined with the tets. Happily, both are performed with and orchestrating excellent sound on the SACD, make great musicality, ensemble playing and them with that in mind. purchase of this recording on disc a technical dexterity, and both provide worthy investment rather than down- great sound and documentation. Consort member María Martínez loading mp3 files. Recording engineer The repertory is quite different Ayerza arranged the works and pro- Ulrich Lorscheider did superb work between the two. The Amsterdam- vides thoughtful discussion on the on the production and recording at based quintet Seldom Sene fills this process in her essay in the CD booklet. AMUZ. Congratulations to FRQ disc with a program of 19 works from The title of the disc is taken and Coolen for this disc. 16th-century Spain. This choice from a 16th-century poem by theolo- makes for a unified musical aesthetic, gian and Spanish Golden Age lyric EL AIRE thanks to common cultural origins poet Luis de León (“The air becomes SE SERENA: of the scores. serene…”). This music, with its elegant Music Two extremes of approach could contrapuntal structure, imparts a strong from the have been employed: a consort could sense of serenity. Courts use essentially the same instrumenta- Seldom Sene’s playing has aspects and tion throughout; or it could promote of the timbre of an organ, but the taste- Cathe­ maximum variety in range and color ful individual use of expressive tech- drals of from track to track. Maintaining­ only nique (such as subtle vibrato in the 16th-Century Spain. Seldom one approach could yield poor results. Guerrero “Agnus Dei” movement Sene Recorder Quintet. Seldom Sene finds a thoroughly in track 2) makes it clear that we’re Brilliant Classics 95304, 2016, nuanced balance by embracing the hearing a quintet of recorders. 1 CD, 67:52. Abt. $21+S&H plus vocal origins of most of these works The recording and mastering tax from www.seldomsene.com/shop/ and orchestrating them with that in provide an appealing sonic image of El-aire-se-serena-p69566580; $5.99 mind. A clear sonic distinction is also the ensemble, including the very occa- (sale price) +S&H at www.arkivmusic. made regarding the instrumental sional sound of inhalations and keys in com/classical/Name/Seldom-Sene/ works on this disc. motion. Ornaments, guided by Ayerza, Ensemble/468689-4; $10.30 +S&H Recorder consorts of any size work well, and the tuning (especially or $6.99 mp3 download from can use this disc as a guide to selecting at the end of track 3) is impressive. www.smile.Amazon.com and instrumentation to fit repertory. The ensemble's treatment of the instrumental works (tracks 9-11) raises challenging questions. The other pieces are arrangements of vocal music. How should non-vocal works be performed in this context? The one minute and 5 seconds of the famous Danza [alta] feels much too short, and, to my ears, could be a context for stylistically appropriate extension via repetitions and further ornamentation. The choice of instruments pushes the boundaries in track 11. For the well-known Bassadanze: La Spagna, the ensemble uses a Paetzold subcontra bass and intensely pronounced articula- tions. Given the somewhat restrained performance practice approach in all 10 Winter 2017 American Recorder of the other pieces, those accents in Portable Folding Recorder Stands La Spagna seem unnecessary. Their playing in Danza [alta] and Balletto: Amor mio, and in Riu, riu, chiu and ¡Hombres, victoria, victoria! is quite s Holds bass, tenor, engaging. A strict approach to the two altos, two sopranos duration of the notated scores results in short versions; I wish they had s Other configurations extended their recorded performances possible. Enquire about of each to embrace more of an oral/ custom stands. aural tradition of repeating the struc- tures for an even more joyful result. s $50, plus $15 shipping Seldom Sene’s YouTube channel by USPS Priority mail (https://www.youtube.com/channel/ UCvI-_sbeyDvnJai238Nf4Hg) gives a sense of the breadth of repertory the James Scott, 7712 Eureka Avenue, El Cerrito, CA 94530 s [email protected] group embraces. Its recordings of uni- fied repertories are effective and have gained appropriate critical acclaim. I look forward to the emergence of more of their work with living composers (as exhibited so well in their Taracea disc). Brilliant Classics has packaged this recording very well. The excellent booklet as well as the audio quality makes the compact disc the format I recommend over the mp3 download. Department of Curiosities The photo at center right (by Avishai Teicher) appeared in the March 2017 Wind­kanal. It is of an anony- mous sculpture in a traffic circle in Rosh-Ha'ayin, a city in Israel that calls itself “the music city” (perhaps due to its local music school, estab- lished in 2007), https://en.wikipedia. org/wiki/Rosh_HaAyin. At bottom right, another piece of public art called the Marktplatz­ hocker (Sitting at the Market Square) is located opposite the town hall at Vaihinger Market near the Volks­ bank at the center of Stuttgart, a town in Germany where abstract and figurative public sculptures are plentiful. The statues were created by local artist Hanne Schorp-Pflumm, whose work is also displayed on the other side of the Rathausplatz (town hall square). The group of life-sized bronzes may be viewed at any time.

www.AmericanRecorder.org Winter 2017 11 FOCUS ON ARS BUSINESS MEMBERS AMERICAN ORFF-SCHULWERK ASSOC. LAZAR’S EARLY MUSIC PRESCOTT WORKSHOP Tiffany English, President Bill Lazar Thomas M. & Barbara C. Prescott 147 Bell Street, Suite 300, 425 N. Whisman Rd. #200 14 Grant Rd., Hanover, NH 03755-6615 Chagrin Falls, OH 44022 Mountain View, CA 94043 603-643-6442; Fax: 603-643-5219 440-600-7329; Fax: 440-600-7332 866-511-2981 (toll free in U.S.), [email protected]; [email protected], [email protected]; www.aosa.org 650-938-5367; Fax: 408-705-1960 www.prescottworkshop.com The American Orff-Schulwerk Association [email protected]; Established in 1974, Prescott Workshop has (AOSA) is a professional organization of http://LazarsEarlyMusic.com a worldwide reputation for the beauty and educators dedicated to the creative music and We sell recorders by Moeck, Mollenhauer, Küng, reliability of its recorders. We guarantee that movement approach developed by Carl Orff Yamaha, Kunath Paetzold Square bass, Ehlert you will like any instrument you choose. and Gunild Keetman. Our mission is to: and Wenner hand-made, and Breukink Eagle; Instruments we offer are: Baroque sopranino • demonstrate the value of Orff Schulwerk and Martin Wenner Baroque and Renaissance flutes; after Bressan; sopranos after Steenbergen and promote its widespread use; Petr Cíp gemshorns; optimized ; Boekhout; Transitional soprano; Bressan alto • support the professional development of Guntram Wolf Baroque and Renaissance winds; in g'; Prescott, Bressan and J.C. Denner model our members; Nartiss ; and other early winds; Roland Baroque altos in f'; Transitional alto in g' or f'; • inspire and advocate for the creative potential Classic digital C-30 ; Lu-Mi and Transitional tenor in f'; solo Renaissance tenor; of all learners. Charlie Ogle Chinese violas da gamba & Bressan voice flute; Denner tenor, played in Founded in 1968, membership in AOSA has Baroque strings; strings and bows; Chris English either d' at a=415 or c' at a=400; Denner grown to include 4000 music educators, /cello bows; large stock of used instruments; keyed c' tenor; Denner bass in f'; and musicians, industry partners, and related music & instrument stands, lights, chairs and SAATTbbBgB Renaissance consort. professionals. AOSA fosters the utilization of other accessories. Recorder keys added, necks the Orff Schulwerk approach through a vibrant bent (painless). Friendly personal service and TOYAMA MUSICAL professional development program that sponsors advice. Instruments gladly sent on approval. INSTRUMENT CO., LTD. hundreds of workshops in 98 local AOSA Very competitive prices. Takamura Toyama chapters across the U.S. each year and through 41, Oharacho, Itabashi-ku, Tokyo 174-0061 more than 70 certified Teacher Training MOECK MUSIKINSTRUMENTE + JAPAN programs across the country. VERLAG GmbH 81-3-3960-8305 Jan Nikolai Haase, Florian Haase oversea@.jp; CLARION ASSOCIATES, INC. Lückenweg 4 D-29227 Celle GERMANY www.aulos.jp/en Dan Schoenfeld, CEO/President 49-05141-088530; Fax: 49-05141-885342 Toyama manufactures recorders under the 35 Arkay Dr., Suite 400, Hauppauge, NY 11788 [email protected]; www.moeck.com Aulos brand, along with a broad line of 800-VIVALDI (800-848-2534); Family-owned enterprise in the fourth elementary musical instruments. The Aulos Fax: 631-435-4501 generation, producing high-end recorders and Collection features superb voicing, patented [email protected]; www.clarionins.com publishing recorder music, books on music and double joint permits smooth joining with no Largest insurance firm dedicated solely to Tibia Magazine for Woodwind Players. Moeck air leaks, constructed of strong, high-class the needs of musicians. Discounts for ARS recorders and music publications are available at ABS resin and excellent intonation throughout members (subject to underwriting approval, Honey­suckle Music, Lazar’s Early Music and full range of instrument. (U.S. Agent: not all may qualify). Von Huene Workshop, Inc. Moeck organizes Rhythm Band Instruments, Inc.) courses for recorder players and promotes the EARLY MUSIC AMERICA recorder on a professional level by awarding VON HUENE WORKSHOP/ Karin Brookes, Executive Director prizes at the Moeck/SRP Recorder Playing EARLY MUSIC SHOP OF NEW ENGLAND 801 Vinial St., Suite 300, Pittsburgh, PA 15212 Competition in London, the Montréal Eric Haas 412-642-2778; Fax: 412-642-2779 International Recorder Competition and others. 65 Boylston St., Brookline, MA 02445-7694 [email protected]; 617-277-8690; Fax: 617-277-7217 https://www.earlymusicamerica.org PERIPOLE, INC. [email protected]; www.vonHuene.com Early Music America (EMA) is a not-for-profit Dr. Andrew Perry, President Founded in 1960 by Friedrich von Huene and service organization for the field of historical PO Box 12909, Salem, OR 97309-0909 his wife Ingeborg, the Von Huene Workshop, performance in North America. Founded in 800-443-3592; Fax: 888-724-6733 Inc., has enjoyed a reputation for producing the 1985, EMA’s goal is to expand awareness of, [email protected]; www.peripole.com finest Renaissance­ and Baroque recorders and interest in, the music of the Medieval, Peripole, Inc. is a company founded by music available for more than 55 years. Today, this Renaissance, Baroque and Classical periods. educators to serve the needs of music educators tradition of excellence continues with Friedrich’s EMA’s members receive a variety of benefits and the music education community. Each son Patrick and his staff. Our shop is inter­ along with a subscription to our magazine year, Peripole makes a major contribution to nationally renowned for both the exceptional and a monthly e-newsletter. the support of music education, nationally, state- quality of our instruments and unparalleled by-state, and locally. As a company of music repair work; we are the North American HONEYSUCKLE MUSIC educators, it sees itself as having a key leadership warranty repair agents for Moeck, Mollen-­ Jean Allison-Olson role to play in helping to establish and maintain hauer, Aafab (Aura, Coolsma, Dolmetsch & 1604 Portland Ave, St. Paul, MN 55104 the highest possible standards in music educa­ Zamra recorders), Blezinger, Küng and Yamaha. 651-644-8545 tion, thus helping to bring those standards to In addition to our own von Huene recorders, [email protected]; classrooms all over North America. Peripole we stock a wide selection of instruments from www.honeysucklemusic.com instruments are also used in Music Therapy, these makers as well as Paetzold/Kunath & Selling Yamaha, Aulos, Moeck, Kelhorn, community musical activities and programs, Martin Wenner. We also have an extensive recorders as well as recorder method books, a and by individual musicians. Sole-source and ever-changing inventory of pre-owned wide variety of recorder sheet music, recorder distributors of the Peripole Angel Halo recorders and other instruments as well as the music for large groups & recorder orchestras Soprano and . largest selection of accessories, books, sheet and music arranged for recorder & other instru­ music and facsimiles for recorder and other early ments. We have Susan Lindvall recorder music instruments in the U.S. We are happy to send arrangements. You will find among our acces­ instruments “on approval” for those players sories recorder cases, stands, clip on and wooden who wish to compare their options before thumb rests and more. We also carry music for Information supplied by Business Members making a commitment. flutes, crumhorns, ocarina, tabor pipe, , responding. Please contact the ARS office bodhran, guitar, strings, , , , to update listings. keyboard, voice and choral music. 12 Winter 2017 American Recorder Education ______Recorder is flourishing in Taiwan: ______Meng-Heng Chen's Hsin-Chu Recorder Orchestra

By Aldo Abreu, Boston, MA The level of playing was Born in Caracas, Venezuela, Aldo Abreu holds Performer's and Teacher's diplomas from the Royal Conservatory in The Hague, and a master's degree from Indiana­­ extremely high. University in Bloomington. His teachers included Ricardo Kanji, Michael Barker and Scott Martin Kosofsky. Abreu is a member of the faculties of the New England All players have a Conservatory, Boston Universit­ y, The Boston Conservatory, and Amherst Early Music Festival. completely fluid technique He is a frequent guest of the Amer­ic­an Bach Soloists in California, on stage and in their recordings for Koch Inter­national. Abreu often plays contemporary works with great intonation. written for him—among them, The Kid from Venezuela by Pete Rose, Echoes and Shadows by Christopher Cook, Concerto for Recorder and Orchestra, n February 2017, I went to Taiwan commissioned from Ricardo Lorenz by the Concert Artists Guild, and Con­certo for a musical collaboration with my for Recorders and Orchestra by Lawrence Weiner. Abreu can be heard playing formerI students Meng-Heng Chen two movements of Larry Bell's Baroque Concerto for recorder, 'cello, harpsichord and Mufan Chan. I played two con- and strings at www.youtube.com/americanrecordermag. His artistic interpretation certs: one was of chamber music with of traditional recorder music is evident in his 2009 CD, Telemann: Twelve Fantasias the two of them, as well as harpsi- and Other Works, which he played on 18th-century recorders from the Von Huene chordist Chia-Hsuan Tsai Collection. Visit http://aldoabreu.com. (photo, next page). The second concert was a con- certo program performed with the Hsin-Chu Recorder Orchestra (HCRO). The orchestra consists mostly of elementary school students plus a few high school participants. The level of playing was extremely high. All players have a completely fluid tech- nique with great intonation. The concertos that we played included works by Vivaldi, such as the sopranino concerto in C major, RV444; the concerto in B minor for four vio- lins, RV580, transcribed in D minor by Saskia Coolen for four alto recorders; Concerto Grosso in G minor for four vio- lins, Op. 3, No. 4, RV550; concerto in A minor from L’Estro Armonico, RV356, originally for and tran- scribed for ; and the chamber concerto in G minor, RV99. Meng-Heng founded the Hsin-Chu Recorder Orchestra four years ago, and I was very impressed by the high standard it has achieved.

www.AmericanRecorder.org Winter 2017 13 Meng-Heng told me that she has assembled a team of nine teachers including herself, Mu-Fan Chan, Tsai-Yen Chen, Chih-Hsuan Hung, Yo- Chao, Chih-Hao Chang, Meng-Syuan Lin, Yen-Jung Chu and Yu-Li Lin. These teachers work at all of the primary schools in the Hsin-Chu area, about the size of a county in the U.S. From all of these elementary school students, the better players are selected for membership in the recorder ensemble. All members must re-audition every year. Before any performance, all members are tested to ensure that they know the music, and any who do not are not permitted to perform. In addition to the performances, I had the pleasure of teaching master classes. I coached three ensembles (photo, next page). A beginner group from the Shi-Hsing Elementary School, conducted by Chih-Hao Chang, played James Carey’s At the Circus. This group had excellent intonation and ensemble skills. The second group was an intermediate group from the Hsing-Lung Primary School. Their piece, Steve Marshall’s Symphony No. 1, was not easy. They played with a sense of ensemble, and were well in tune. One of the members, Tau-Han Hsu, played three different recorders, switching quickly among them. The third group was the Hsin-Chu Recorder Orchestra. They played Sören Sieg’s African Suite No. 3.

From above, l to r, Chia-Hsuan Tsai, harpsichord; Aldo Abreu, Meng-Heng Chen and Mufan Chan, recorders

14 Winter 2017 American Recorder Shi- Hsing Elementary School Recorder Ensemble (wine shirts, at left); Hsin-Chu Recorder Orchestra (aqua blue, middle, with Abreu in brown); Hsing-Lung Primary School (pale blue, right)

In addition to their musical, were groups from Japan, Mainland Education­ Depart­ment in the Fall 2015 expressive and technically accurate China and Korea. AR, in which Mary Halverson Waldo playing, the Hsing-Lung Primary The Hsin-Chu Recorder Orchestra interviews Taiwan recorder professional School Ensemble and the HCRO each has just released a CD; a video featuring a and educator Yungtai Liu (www.youtube. performed the master class piece from selection from the CD is at www.youtube. com/lyt5610) about his recorder orchestra memory. com/watch?v=Y7yZrxtJNp8 (e-mail activities in Taiwan. All members of the HCRO take [email protected]). You may also reach either channel private recorder lessons, and practice For videos of other Taiwanese plus other recorder-related content recorder for as many hours as students recorder groups and soloists, visit www. by using links at www.youtube.com/ in youth orchestras in the U.S. youtube.com/bachbwv1080. Also see the americanrecordermag. The HCRO has a remarkable collection of instruments, including four Paetzold contra basses, six great basses, plus bass, tenor, alto and soprano recorders made by Mollenhauer. The ensemble won the first (Gold) prize at the Japan Recorder Ensemble Competition a couple of years ago, and this year too. The other contenders

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www.AmericanRecorder.org Winter 2017 15 By David Lasocki JUAN I AND HIS FLAHUTES: The author writes about woodwind instruments, their history, repertory, WHAT REALLY HAPPENED and performance practices. His book with Richard Griscom, The Recorder: IN MEDIEVAL ARAGÓN? A Research and Information Guide, Let us explore the implications published by Routledge, received the 2014 of this letter for the history of the Vincent H. Duckles Award from the rom 1387 to 1396, recorder, including the truth of theories Music Library Association for best book- King Juan I (b. 1350) about the origin and purpose of the length bibliography or reference work ruled the Crown of instrument. in music. Now in its third edition, Aragón—a confederation formed from this collaborative work incorporates the Kingdom of Aragón, the County The Flute Family in Aragón Lasocki’s annual reviews in AR of Barcelona (Catalonia), and the Terms for members of the flute family (1985– 2012) of research on the recorder. Kingdom of Valencia, in northeast go back to the early 14th century in Spain. On July 23, 1378, when he was Aragonese sources. The registers of In 2011 he received the still the Crown Prince, Juan wrote the the Crown Prince Jaime (son of ARS Distin­guished Achievement Award, following letter from his political capi- King Jaime II) record payments to and in 2012 the Frances Densmor­ e Prize tal of Zaragoza to his chamberlain, “Berthomeu de les Praguergnes and from the American Musical Instrument Petro d’Artes: Ramon de Fraga, jutglar de flauta” in Society for the most distinguished article- I certify to you that Matheu, our 1312 and “Jacme, juglar de flauta and length work in English for his two-part tragitador, is going under our license Pero ... juglar de rebeba” the following article, “New Light on the Early to the city of Valencia, and as he is year. Juglar was cognate with what the History of the Keyed Bugle.” very good at making , we want French called jongleur; rebeba was evi- him to ask Ponç, who makes , dently the Catalan word for , an Since he retired from his position as Head that with the counsel and assistance early bowed stringed instrument. of Reference Services in the Cook Music of the said Matheu he will make us “Jacme Costa, juglar de flauta,” Library at Indiana University in January a double harp, and provided that he perhaps the same man, turned up 2011, he has been devoting himself to works every day until the said harp as a visitor at the Court in 1345. many unfinished writings and editions is finished, and I anticipate that it At the coronation of Alfonso IV (some now available in print through will be necessary for him to do that, “el Benigno” (Jaime II’s successor) in Edition Walhall); to his own publishing and the said Matheu bring it to 1328, the chronicler and trumpeter company Instant Harmony; and to the us, and send us the lutes and the Ramon Muntaner noted: practice of energy medicine. See his flahutes as quickly as possible. axi altre no gosaua caualcar ab ells, web site, www.instantharmony.net. (Tragitador usually meant “conjurer,” ans cascu sen anaua axi ab trompes but perhaps here it means an enter- e ab tabals e ab flautes e ab sembes, tainer in general, or even simply an e ab molts daltres instruments; quen ambassador.) veritat vos dich, que mes de CCC Valencia was about 200 miles pareylls de trompes hi hauia further south within the Crown of No others dared to ride with them, Aragón. Doubtless Ponç had made the but everyone was going like this, lutes—whic­ h, like the flahutes, seem to with and with have been ordered earlier. But it is not and with flautes and with cymbals spelled out in this letter or the ensuing and with many other instruments: letter of receipt whether the flahutes I truly tell you that more than A version of this article first appeared had also been made by him or someone three hundred pairs of trumpets in German translation in Windkanal, else in his workshop—or perhaps had were there. 2017-3, and is also accessible in its even been obtained elsewhere. In any During Alfonso’s brief reign original English version with footnotes case, when the instruments arrived, (1327–36), the Court employed in the online bonus material for inter- Juan wrote to d’Artes again and “Pedro Abril, el juglar de flauta, national readers at www.windkanal.de. declared that he had received them que fascina y ennoblece las almas” “to my complete satisfaction.” 16 Winter 2017 American Recorder Pedro IV, King of Aragón, The flauta is mentioned in a father of Juan I Spanish literary source from (painting by Gonçal Peris the middle of the 14th century. Sarrià and Jaume Mateu, the word is used today for an obliquely held rim-blown flute 1427; preserved made out of cane. in the Museu Thus in Aragón juglars tended to play the flauta, which d'Art de in a manuscript from nearby Guadalajara is identified with Catalunya tabor pipe. But flahute or flaute was also employed—so, as in and by the all linguistic matters, the terminology was not clear-cut. Google Art Because the Aragón Court was highly influenced by Project) everything French, it may be significant that the French lan- guage used flaüte/flahüte to mean tabor pipe. Then, probably (the jongleur of the flauta, which fascinates and ennobles by the late 14th century, and certainly by the early 15th, the soul). flaüte in French began to shift its spelling to fleute and its In 1349, during the long reign (1336–87) of Pedro IV meaning to recorder. Therefore, it may again be significant “el Ceremonioso,” a man named Bernat was paid for that Juan chose the term flahutes rather than flautas for the “fittings and ferrules of silver that he makes for two flahutes instruments he had ordered, and French influence may also de bahanya,” to be given to two juglars de cornamusa (bagpipe) be suggested. More significance may be attached to Juan of the Court, Guillelmi Veguer and Ugoni de la Pelliça. ordering more than one flahute and at the same time as lutes. Bahanya means “animal horn,” and the term occurs once Finally, clear depictions of the recorder begin to show more in Court records: in 1394 Juan I wrote to one Bernardo up in art from Aragón around 1380. Two similar works of de Penavera, commanding that he give the king the ciulet de art attributed to the Aragonese painter Pere Serra (fl.1357– banya de unicorn (whistle of unicorn horn) in his possession, 1405) depict clear and remarkable recorders (detail below, and thus “do service to us which we will take as agreeable.” and see the cover of this issue). Not clear, however, is their exact Of course, a real unicorn horn would be infinitely rare; this dating. Only two works are securely documented as by him one was presumably ivory. with dates (1394 and 1395), neither work containing duct The flauta is mentioned in a Spanish literary source flutes; all other attributio­ ns and dates by art historians are from the middle of the 14th century. The Libro de buen amor based on stylistic considerations. Que Sera, Serra! (rev. 1343; earliest surviving manuscript dated 1368) by Juan The central panel of the altarpiece La Virgen con el Niño Ruiz, Arcipreste de Hita, links the instrument with the tabor (next page), painted for the monastery of Sant Cugat del played by joglares: Con muchos estrumentes salen los atabores.... La flauta diz con ellos, más alta que un risco, Con ella el taborete: sin él non vale un prisco. With many instruments depart the drums.... The flauta among them, higher [sharper] than a bluff, And the small with it, without which it is not worth a farthing. (This apparently refers to the , an early form of “one-man band.” The tabor was a small drum slung over the player’s shoulder and beaten with the right hand, while the player’s left hand played a “pipe”—a very narrow duct flute with usually three fingerholes, mostly sounding higher harmonics.) Pere Serra, central panel of altarpiece Furthermore, the poem distinguishes the flauta from La Virgen con el Niño, c.1385, from Museu the axabeba, a term derived from the Arabic shabba¯ ba, which Nacional d’Art de Catalunya, Barcelona, scholars have generally taken to be the , intro- Inv. 3950 (photo by Lucien Lasocki, duced to Spain by the Moors in the eighth century, although www.lucienphotography.com)

www.AmericanRecorder.org Winter 2017 17 Vallès, now a suburb of Barcelona, has been dated at around Juan and his Minstrels 1385. The Virgin Mary, with baby Jesus on her knee, is As a child of a mere 16 months, Juan had already been surrounded by six angels playing harp, , , assigned two juglars for his own service; they played the , and recorder. The cylindrical recorder cornamusa, the favorite instrument of his father, King Pedro has eight fingerholes in line higher up on the instrument IV. Juan loved the cornamusa so much that an elaborately than the whole of the player’s lower (left) hand, below decorated one was ordered for him when he was three years which one of the paired fingerholes for the little finger old from a Barcelona maker, presumably as a plaything. is visible. A similarly posed group, playing the same six In 1367, he was given his own pair of musicians, who instruments, is depicted in an altarpiece painted for the played cornamusa and . After he got married for cathedral of Santa Clara, Tortosa (actually in nearby the first time (to the French infanta Juana de Valois, at El Baix Ebre), between Barcelona and Valencia, around the age of 21 in 1371), Juan hired for his personal service 1385, although recent scholarship suggests it could have four musicians—now for the first time at Court called been as late as 1400. “minstrels”: Thomasi (Tomasinus de Xaumont, probably In research on the Middle Ages, nothing is certain— Chaumont in ), Tibaut (Tibaldus de Barrenes), but all things considered, Juan had almost certainly bought Jacomi ( Jacobinus de Bar, in France), and Lupi (Luppus a set of recorders. tibalerius, piper?), “from France and other countries.” Their contract introduced the term coblas de ministriles (associations of minstrels) to the Court. This particular cobla was based on the duo of Thomasi, shawm, and Jacomi, cornamusa. The other two minstrels presumably added an accompaniment of other instruments, not necessarily all winds, although their eventual replacements, Johani de Sent Luch (Saint-Luc in France) and Jacomi Capeta, both played the shawm. Recall that Juan remained the Crown Prince until 1387, so he had not yet taken the throne during most of the activity discussed in this section. Thomas III, marquis of Saluzzo (Savoy, in the moun- tains between France and Italy), wrote in his Le chevalier errant (1394): “The King of Aragón and the Aragonese appeared to me very arrogant. They belittled all the great princes in the surrounding area, judging themselves very superior to everyone; their king was among them, distracting himself by watching and listening to the jongleurs and minstrels.” Pere Tomich in his history of Aragón (1438) wrote more neutrally about Juan: “and he had at his Court many coblas of all kinds of minstrels dancing and singing to amuse himself.” Reporting more than a century after the fact (1495– 1513), another chronicler of Aragón, Pere Miquel Carbonell, noted of Juan: “His biggest concern was to order the search around the world for the best minstrels to be found, strings as well as winds and singers, so that they would play and sing in his presence three times a day—that is, one in the morn- ing, another at noon, and another in the afternoon; and he Enrique de Estencop, central panel of wanted this rule to be observed every day of the week. And altarpiece La Virgen con el Niño (1391-92), before going to bed, he would command the young men and from Museu Nacional d’Art de Catalunya, maidens to dance and amuse themselves in his presence, Barcelona, Inv. 64023 (photo by Lucien except on Fridays.” Lasocki, www.lucienphotography.com)

18 Winter 2017 American Recorder Minstrel Schools The purposes for [the minstrel] schools are documented as Between about 1313 and 1447, a highly effective mechanism of commu- learning the craft, purchasing instruments, recruiting nication existed among minstrels inter- nationally: the so-called minstrel new minstrels, and above all learning “new songs.” “schools.” Rob Wegman observes: “These were not schools in the modern We might imagine Juan to be lis- only surviving evidence of his own sense but international assemblies, the tening to his musicians in a dark, dank musical ability is that, “helped by my counterpart of conferences or trade castle constructed from huge blocks of singers,” who had been newly recruited fairs in our time.” They were held gray stone. Nothing could be further from the Papal Court in Avignon, he roughly annually during Lent—a sea- from the truth. The photos on p. 22 composed a three-voice rondeau in son when secular music stopped being (background) and p. 23 show that he 1380. Note that it was singers, not performed everywhere—in cities in inherited from the previous rulers of minstrels, who taught him to compose. France, the Low Countries, and occa- the area, the Moors, a sumptuous pal- The equivalence of singers and sionally England and Germany, pre- ace called the Aljafería, containing composers is also implied in another sumably organized by urban minstrel examples of the most striking architec- letter Juan wrote to Avignon in 1379: guilds and confraternities. tural forms in the Western world. “Similarly, we want you to help make Those attending came from cities Because the Koran forbade represen- a book for us in which are notated and courts in the same countries, and tation of human and animal forms, fifteen to twenty as well as from as far away as Greece and Spain, Moorish architects and artists concen- the flower of ballades, rondeaux, and returning home by Easter. Maricarmen trated on developing intricate orna- virelais, and ask the singers of the Pope Gómez Muntané has suggested that mentation instead. to make it, since they know quality permanent music schools may have Did Juan play instruments himself, the best, and send it as soon as it is been located in Flanders, too—and like some monarchs of England? The ready by a trusted messenger.” perhaps woodwind makers were also located permanently in Flanders at this time. The purposes for such schools are documented as learning the craft, pur- chasing instruments, recruiting new minstrels, and above all learning “new songs,” presumably including the sense of “pieces.” The Limburg Chronicle, written from 1378 to 1398 by the notary and town clerk Tilemann Elhen von Wolfhagen, records many instances of new songs “played on shawms and trumpets as well as sung by the people.” Wegman writes: “If minstrels were prepared to travel hundreds of miles each year to learn new songs, then musical novelty must have been at a very high premium in their profession, much more so, one assumes, than among singers and composers. Since the minstrel school was attended by musicians from nearly all countries, it allowed new songs to become instant hits, and new styles of playing and singing to break through almost

www.AmericanRecorder.org Winter 2017 19 One of the things that overnight.” The same would have that not only was Juan obtaining been true of new instruments. instruments from the schools—he Minstrels from Aragón attended was passing them on to a neighboring Juan's minstrels did at schools in Germany (1352), unknown monarch’s minstrels. (1371), Flanders (1372), Bruges (1373), In May 1377, Juan heard and Flanders (1374), Bourg-en-Bresse, a hired a 20-year-old shawm player, the schools was learn new free city in what is now eastern France Jacomi Capeta, and was so excited (1377), Bruges (1378), Flanders (1379), that he prepared for the advent of this pieces. When they returned, unknown (1381, 1382, 1383), France/ virtuoso by asking all the wind instru- Germany (1386), unknown (1388), ments to be checked out and repaired. France (1389), and unknown (1390, He then ordered new harps, , they taught the pieces to 1415). lutes, and a kettledrum (timbal). Juan’s One of the things that Juan’s taste was fickle, so by the end of the other local minstrels. minstrels did at the schools was learn year Capeta had been sent to the ser- new pieces. When they returned, they vice of Juan’s brother Martin—and taught the pieces to other local min- Juan acquired another shawm player, strels, as documented in his letters. For Johani Estrumant, previously in the example, he wrote on August 1, 1377, service of the Count of Flanders. to his cousin Alfonso I, duke of Thus it was that in spring 1378, Gandia, about “Johani, our minstrel ... the year that Juan bought flahutes, he since he is just back from the schools, sent six men to the minstrel schools we want him to teach your minstrels in Bruges: the cobla consisting of all the new songs (cançons) he learned.” Estrumant, shawm; Johani Coecre, In addition, Juan wrote to the duke on cornamusa; Johani de Sent Luch, March 1, 1378, just before his minstrels shawm; and Jaquet de Noyo, psaltery went to the schools again, “Our min- and fiddle; plus Matheu (the harp strels have taught yours six new songs, maker, who was also a performer). and when our said minstrels have These minstrels returned tardily returned from the schools, send yours in August, to the music-loving Juan’s again and ours will show them our despair. As early as May 22, he had to instruments. This way, we will deliver write to his brother Martin: “Because to them two shawms, two cornamusas, the instruments of the Duchess's min- one large and one small museta, a small strels that are now here torment us shawm, and a bombard.” Here we see when they are played, I beg you that

20 Winter 2017 American Recorder your man bring us the musetes of yours timing shows that Juan could not yet that Tibaut, your minstrel, brought to have seen or heard them. If flahutes of a In any case, by the time you from Flanders this year.” Note that new type had previously been made— these instruments were brought from even developed—in Valencia, within Flanders, apparently independent of his own territory, surely Juan would Juan's minstrels returned the minstrel schools. In this connection, have already known about them and it was also to Flanders that Juan dis- been able to order them earlier. His patched his best-ever shawm player, hurry to obtain the ones from Valencia to Aragón in August Everli, to buy instruments “of [a] new may well have been because his min- type” in 1388. strels were finally due home and now On July 30, 1378, a week after he could hear the instruments played. 1378, the flahutes had Juan referred to an order for flahutes, In any case, by the time Juan’s and shortly before his own minstrels minstrels returned to Aragón in came back from the minstrel schools, August 1378, the flahutes had arrived arrived at the Court. he wrote a letter to Martin: “... we at the Court. know that your minstrels, who have just returned from the schools, have Singers brought with them many instruments, Who else but these minstrels could big and small [perhaps in the sense of have played the flahutes? Juan tells us bas and haut], and we would be very himself that some singers also played grateful if, in case you think that listen- instruments. His father kept a steady ing to the big instruments would not number of six chantres. The French be agreeable or fruitful, then, dear name for the singers suggests they brother, we would kindly ask you to sang French Masses, and send us your minstrels, especially with in any case they came from Avignon. the small instruments, although we But Juan did not start organizing would prefer that they bring all of his own chapel until his second mar- them.” This document once more riage, to the French noblewoman shows that Juan was vitally interested Yolanda de Bar, in August 1379. At in new instruments, which minstrels that time he hired eight singers, mostly brought back from the schools. French and mostly from Avignon, writ- Perhaps flahutes were among the ing to his ambassador there: “and we new “small” instruments that Martin’s want them to bring all the Mass minstrels had brought back, but the notated in a book containing also

www.AmericanRecorder.org Winter 2017 21 motets, rondeaux, ballads, and vire- have no further evidence of his lais.... And let us know if they can relationship to this instrument; play instruments too, and which ones, it was the shawm that he found since we have all kinds of them....” “the most agreeable sound” of all Juan’s new sister-in-law pronounced instruments, especially when it was him “completely French.” accompanied by the cornamusa. We know the names of no He went to enormous lengths fewer than 26 of Juan’s singers over to obtain the best lead shawm the period 1379–96, but there is player he could, before and no surviving record of any instru- throughout his reign. ments they might have played or any If these shawm players also compositions they wrote. And unfor- played the recorder, as shawm players tunately, none of the 14th-century generally did in the following century, secular vocal repertoire has survived that would have been a bonus. And it in Aragón. Some would help to explain why string music—the modern name for players were sometimes members of Ars Nova music of particular coblas. The stringed instruments were rhythmic and notational complexity— suited to the volume of the recorders, in the Chantilly Codex (compiled not to the loud shawms. around 1375–95) was associated The suggestion by Anthony with Juan and his brother and Rowland-Jones that the recorder was successor, Martin, who may developed in Avignon, from whence it therefore have commissioned would have made its way to Aragón, it for performance at Court. has not borne fruit. He observed that “Jaime and Pere Serra were influenced An Explanation by Sienese painters, including Simone The best explanation I can think of Martini and others who worked at for all this evidence is that Juan had Avignon, and perhaps the recorder already obtained a flahute: from a was invented in the sophisticated previous trip that his minstrels made musical ambience of the papal court to the schools, or else brought in by there.” Rowland-Jones went on to one of the many minstrels visiting the look for depictions of recorders in the Court or by a newly-hired minstrel. Avignon art of the 14th century— Estrumant, who had been working without success. in Flanders, is an obvious possibility, One piece of evidence in favor given that woodwind instruments of Avignon would have been Maria generally came from there. del Carmen Gómez Muntané’s Then Juan sent the instrument report that a man named Pere Palau to the lute-maker Ponç and asked made both stringed instruments and him to make several copies. If such recorders in that city in the late 14th an instrument had been new to Ponç, century. However, Gómez Muntané then it would certainly have taken him informs me she was just speculating a while to figure out how to make one that Palau made recorders, based on well, especially if it had to be made in the presumed model of Ponç in more than one size. Recorder-making Valencia. is significantly different from making How many flahutes would Juan stringed instruments in requiring skill have purchased in 1378 and what with a lathe and reamers. sizes were they? The only pertinent If Juan’s hurry suggests that evidence we have is from 1410, on he “seemed to like” the recorder, as the death of Juan’s younger brother Anthony Rowland-Jones put it, we 22 Winter 2017 American Recorder Details of Juan’s Residence: Aljafería, Zaragoza, Spain, in Moorish style: looking out, background on facing page; palace interiors at right (photos by Lucien Lasocki, www. lucienphotography.com) Martin (b. 1356), who had ruled the Crown of Aragón since 1396. His possessions were given to his widow, including “tres flautes, dues grosses e una negra petita.... dues flautes, una negra petita e 1 altra travessada” (three flautes: two large and one small black one... two flautes: one small black one and another transverse one). Were the “black” instruments made of a dark hardwood, a sign of their great value, or perhaps covered in black leather? The instruments listed first apparently constitute a set of three in two different sizes—the first clear reference in history to more than one size of recorder. Martin strongly sup- ported the royal chapel, but seems to have been less interested in minstrel music than Juan (despite having had his own minstrels as early as 1378), so the flautes could well have been those passed down from Juan. ... the first clear reference in history to more than one size of recorder. presumably handed to Juan’s minstrels, of employment to be found there! But who were used to oral transmission of whenever instruments are mentioned, Let us pause for a moment and pieces and perhaps did not even read they are the same ones as before: consider a notable difference. When music. Then the minstrels would have shawm, cornamusa, bombard and harp. minstrels wanted to learn new reper- simply played their usual memorized toire, they traveled to the minstrel repertoire on these new instruments. Theories and schools, where they picked up the Juan’s minstrels increased by their Plausibility repertoire orally and later passed it seven in 1379, then were reduced The researchers Jordi Ballester and on orally to other minstrels. When to five, crept up to 10 by 1382, and Anthony Rowland-Jones have conjec- singers wanted to learn new reper- declined again to three by the com- tured that Juan’s recorders, perhaps in toire, they read the music, or mencement of his reign in 1387; conjunction with his lutes, were used composed some themselves. then he immediately recruited more to play the latest French ; So when the flahutes arrived in to make 10, after which documents that the recorder was developed for Zaragoza in August 1378, they were about them are lacking. No security that very purpose; and that the prac- www.AmericanRecorder.org Winter 2017 23 Sepulchres of the tice of playing chansons on recorders might have spread from Aragón around Kings of Aragón . How plausible are these conjectures? Certainly, instruments of the type of recorder with a full tone as the lowest The Royal Monastery of Santa interval, readily chromatic, would have been helpful for playing such music— Maria de Poblet is a Cistercian Monastery, west of Barcelona, Spain, if such instruments already existed. The surviving instruments from the 14th and still functioning. Built between and 15th centuries uniformly have a semitone as the lowest interval. the 12th and 18th centuries, the Even a set of three recorders in two sizes would have been capable monastery shows an evolution from of performing vocal polyphony. As Herbert W. Myers has observed, “Two Roman­esque style to Gothic. In the sizes of recorder built a fifth apart would suffice for most written [three-part] monastery church, alabaster statues polyphony of the [late fourteenth and] early fifteenth century; three sizes of important sovereigns appear on become necessary with the general adoption of the contratenor bassus, whose two arches over the royal tombs; range is typically a fifth below that of the tenor.” they were restored by the Catalan Singers from Avignon, who could read the notation of Ars Nova and sculptor Frederic Marés in 1948. Ars Subtilior music, might have learned an instrument like the recorder, which Kings have lion sculptures at their needs no special , and used it to play chansons, with or alternating feet, and queens have dogs. Pedro IV (1319–87) made it a condition under solemn oath that kings of Aragón be buried at Poblet Monas­ tery. Only Ferdinand II broke the oath, after his kingdom merged with the Kingdom of Castile upon his marriage to Isabella I (with whom he sent Christopher Columbus to the New World); his tomb is at Granada. (Juan I and Yolanda, center below; photo, right, by PMRMaeyaert - Own work, CC BY-SA 3.0, https:// commons.wikimedia.org/w/index. php?curid=17488206)

with voices, in Aragón. And it has been proposed that, doubling at least the tenor (the foundation vocal line), the recorder would have been able to help singers with their chal- lenge noted by one writer in 1434: “it becomes most diffi- cult to keep the notes at the right pitch for a long time, even for one song.” The singers might have even taught the minstrels to play chansons by rote—which would not have been a stretch for minstrels used to oral transmission—or from the notation—which would have

24 Winter 2017 American Recorder been something new for them. We even have a beautiful Dr. Lasocki appreciates the inestimable help he received in quotation from the Court of Savoy—but 100 years later!— researching the article from Maricarmen Gómez Muntané, showing that such things happened: in 1479 a singer was Nicholas Lander, Ana López Suero, Herbert Myers, Vicente paid “for having shown chansons to the minstrels of the Parrilla and Keith Polk. said Lord.” It is worth noting that, as well as chansons, Juan of Reading List Aragón obtained motets for his singers. Although no Alcoy i Pedrós, Rosa, ed. L’Art gòtic a Catalunya. Pintura I: researcher has suggested the possibility that his singers De l’inici a l’italianisme. Barcelona: Enciclopèdia played motets on recorders, that would have been as Catalana, 2005. plausible as singers playing chansons. Ballester, Jordi. “La flauta dulce en la antigua corona de No less a figure than provides Aragón a finales del siglo XIV: nuevas aportaciones.” some relevant evidence about the instrumental performance Revista de flauta de pico, no. 15 (2000): 9–12. of chansons. In a poetic letter written in about 1363–65, he Chronik des edlen En Ramon Muntaner. Karl Lanz, ed. observes about his ballade Nes qu’on porroit, “... I beg you to Stuttgart, 1844. be willing to hear and learn the piece exactly as it has been Duffin, Ross W., ed. A Performer’s Guide to . written without adding to or taking away any part ... and Bloomington: Indiana University Press, 2000. whoever could arrange [it] for the organ, , or other Gómez, Maricarmen. “Minstrel Schools in the Late Middle instruments, that is its very nature.” The Machaut expert Ages.” Early Music 18, no. 2 (May 1990): 212–16. Lawrence Earp comments: “In our current view, this does Gómez Muntané, María del Carmen. La música en la casa not mean an ensemble of instruments literally playing the real catalano-aragonesa durante los años 1336–1442. written music, but some kind of creative rearrangement, Barcelona: Antoni Bosch, 1979. and thus not ‘exactly as it has been written,’ because that Knighton, Tess, and David Fallows, ed. Companion to segment of the musical practice [i.e., instrumental perfor- Medieval and . New York: Schirmer mance] was carried on in a largely unwritten tradition.” Books; Maxwell Macmillan International, 1992. One suggestive piece of evidence in favor of recorders Machaut, Guillaume de. Le Livre dou Voir Dit (The Book of playing at least some vocal music is that, as early as 1385, the True Poem). Daniel Leech-Wilkinson, ed.; R. Barton in a nuptial Mass in Cambrai for the future John II of Palmer, transl. New York & London: Garland, 1998. Burgundy, singers and flusteurs musicals performed—whether McGee, Timothy J. The Sound of Medieval Song: at the same time or alternately, we do not know. Otherwise, Ornamentation and Vocal Style according to the Treatises. we have no further evidence of vocal music being played on Oxford: Clarendon Press, 1998. recorders until the Court of Burgundy in 1468. Neither do Randell Upton, Elizabeth. Music and Performance in the Later we have evidence either for or against instruments—even Middle Ages. New York: Palgrave Macmillan, 2013. stringed instruments such as the fiddle, lute, and harp— Rowland-Jones, Anthony. “Iconography in the History of taking part in French secular chansons at the same time the Recorder up to c.1430, Part 1.” Early Music 33, as the voices. no. 4 (November 2005): 557–74. “Part 2,” Early As for the idea that playing chansons on recorders Music 34, no. 1 (2006): 3–27. might have spread from Aragón: if such a practice existed ———. “The First Recorder: How? Why? When? ... and in 1378–79, or developed soon afterwards, more likely it Where?” American Recorder 40, no. 5 (November 1999): originated in Burgundy or Avignon, especially given that 10–14, 33. Juan of Aragón was pronounced “completely French.” ———. “The First Recorder...? Some New Contenders.” Unless more evidence is discovered, although recorders American Recorder 47, no. 2 (March 2006): 14–20. may have been used to play arrangements of chansons (and Ruiz, Juan. Libro de buen amor. Marcella Ciceri., ed. motets), the rest of the theory and its relationship Modena: Mucchi, 2002. to the development of the recorder remain a series of Torralba, Antonio. “Reflexiones (casi en forma de pregunta) “mights.” sobre las flautas en la Edad Media. Capitulo primero: ¿Qué era la ajabeba?” Revista de flauta de pico, no. 7 This article is based on a draft section of the chapter ( January 1997): 27–30. “Fourteenth and Fifteenth Centuries” in The Recorder by Wegman, Rob C. “The Minstrel School in the Late Middle David Lasocki with Nikolaj Tarasov and Robert Ehrlich Ages.” Historic Brass Society Journal 14 (2002): 11–30. (London & New Haven: Yale University Press, forthcoming).

www.AmericanRecorder.org Winter 2017 25 Music Reviews ______Reformation500 and other Baroque works, ______from members of two quartets and from David Lasocki

Six selections from EDITION WALHALL This piece is one of Bach’s more iconic works, and (www.edition-walhall.de/en) would be a welcome addition to any program. It is especially timely now, given that Reformation500 was just observed in 6 ChoRALBEARBEITUNGEN nach Martin October 2017, and that Bach is the most famous musical Luther, arr. Klaus Miehling. FEM139, 2017. interpreter of Martin Luther’s theological ideas. AATB. 4 sc 14 pp ea. Abt. $24. With recent observances in October 2017 of the 500th S t. PeTRUS­hYMNUS, by Giovanni Pierluigi anniversary of the Protestant Reformation, these arrange- da Palestrina, ed. Adrian Wehlte. FEM245, 2017. ments of melodies by Martin Luther (1483-1546) are timely. SAAT or TBBgB. Sc 6 pp, 4 pts 1 p ea. Abt. $10. Klaus Miehling (b. 1963) is an independently employed A Swiss composer and transverse flute and recorder musician living near Freiburg, Germany. His training is in player, Adrian Wehlte teaches at two music schools located organ, piano and harpsichord, as well as in musicology. in the state of Bavaria in southeastern Germany. This The chorales presented in this collection are Ein feste arrangement, as well as others of his, can also be purchased Burg ist unser Gott (A Mighty Fortress is our God), Aus tiefer at https://floetennoten.net/noten/palestrina2.html, a German- Not schrei ich zu dir (Out of the Depths I cry to you), Verleih language site that has many other recorder and flute arrange- uns Frieden gnädiglich (Graciously give us Peace), Erhalt uns, ments that may be of interest to readers. Herr, nach deinem Wort (Lord, keep us steadfast in your The St. Peter Hymn of Palestrina first appeared in print Word), Vater unser im Himmelreich (Our Father, Who art in in Rome in 1589, as number 21 in a cycle of 45 hymns for Heaven), and Nun freut euch, lieben Christen g’mein (Dear four voices. Written for the Feast of St. Peter in Chains, cel- Christians, one and all rejoice). These are mostly familiar ebrated August 1 and based on the account of Peter being chorales found in many hymnals, Lutheran and otherwise. miraculously freed from prison (recorded in Acts 12:1-19), All six are sophisticated partitas, anywhere from one to the Latin text reads: Petrus beatus catenarum laqueos Christo five short movements in length. They are modern, but still jubente rupit mirabiliter, custos ovilis, et doctor ecclesiae, pas- very tonal. No one part is stuck playing the melody in whole torque gregis, conservator ovium arcens luporum truculentam notes! The altos' range can be quite high in some places, and rabiem (rough translation: At Christ’s command, [Blessed everyone is going to have to know how to count, as Verleih Peter] miraculously burst the snares of his chains, the keeper uns Frieden is unbarred. Aus tiefer Not changes key with each of the fold, and a doctor of the church, shepherd of the flock, of its five movements. Miehling has indicated the amount of and defender of the sheep, keeping away the cruel rage of time each entire piece takes to play, with the longest at 3'20" the wolves). and the shortest at 1'30". These arrangements would be use- Wehlte recommends the lower grouping (TBBgB), ful for a solid ensemble that plays in worship services. as that reflects the original written range of the piece. The notation of the parts for the SAAT version uses rhythms P aSSACAGLIA in c minor, BWV 582, by halved from those of the original presented for TBBgB. Johann Sebastian Bach, arr. Bart Spanhove This means that the barring in measures 14 and 15 had to and Paul Van der Meer. FEB024, 2016. SATB(gB). be adjusted with slurs as well for the higher arrangement. Sc 15 pp, 5 pts 2-4 pp ea. Abt. $16. Overall, it is a short, rather straightforward piece of music. As an organist myself, I know this piece—it is not easy. This arrangement, besides being useful in a church set- The editors have assigned the organ pedal part to the bass/ ting as music for a little-known feast day, is wonderful for great bass option, and divided the two organ manual parts study purposes. Each part, labeled “Stimme (Voice) 1” (or 2, among the soprano, alto and tenor recorders. That means 3 or 4), has the high part on one side and the corresponding the bass/great bass has the easiest part—easy being a relative lower part on the other side. One can compare the original term, but with many measures of rest. Everyone else will whole-note notation against the more modern. need to be ready for about 10 minutes of solid playing. In addition to the performance notes in the back (in German and Latin), there is a facsimile of the beginning of 26 Winter 2017 American Recorder the original Palestrina tenor line that sobre „Qui la dira,” by Antonio de Cabezón, could also be useful for arr. Helmut Voth. FEB055, 2016. SATB. 4 sc 5 pp ea. Abt. $16.50. discussion and teaching purposes. Antonio de Cabezón (1510–66) was a Spanish Renaissance composer and organist. Blind from childhood, he was well-known as a performer, eventually Bourrée, by Gottlieb Muffat, being employed by the royal family (specifically Isabella of Portugal, who married arr. Hermann-Josef Wilbert. Charles V of Castile and Aragón). He was among the most important composers FEB035, 2016. SATB. Sc 2 pp, 4 pts of his time and the first major Iberian keyboard composer. 1 p ea. Abt. $9. The tiento was a polyphonic form of instrumental music that originated in Gottlieb Muffat (1690-1770) was the Iberian peninsula and has been linked to both tastar de corde and the ricercar a Viennese court organist and keyboard (both improvisatory prelude forms). Twenty-nine by Cabezón survive. composer. (George Friedrich Handel Written out in long note values, which this edition maintains, they alternate “borrowed” many of Muffat’s ideas, between imitative and non-imitative sections and usually present three or four especially from his Componimenti themes. Techniques­ unusual for the genre at the time, such as extended duets Musicali, a practice that was not or motives that transform into ostinato patterns, may also be found in them. viewed negatively in those days.) The later ones anticipate the music of the Baroque period. This Bourrée is a very simple, uncomplicated piece that could easily be used to teach the dance rhythms. One could play it at an ARS chapter meeting, sight-reading it fairly quickly, while someone demonstrates the steps to the bourrée. Les Sauvages—Die Wilden, by Jean-Philippe Rameau, arr. Ferdinand Gesell. FEB044, 2017. STB. 3 sc 4 pp ea. Abt $9. Jean-Philippe Rameau (1683- 1764) was one of the most important French composers and music theorists of the Baroque era. He replaced Jean- Baptiste Lully as the dominant com- poser of French opera and is also considered the leading French com- poser of his time for the harpsichord, alongside François Couperin. This is the ballet from his Baroque opera, Les Indes Galantes. As with all French Baroque music, it is helpful to understand ornamentation to play this piece well. There are trills and other agréments, as French Baroque orna- mentation is correctly called, printed in the scores, making this a useful teach- ing tool for this style of music. Good recorder players learn the specific exe- cution of these types of ornaments, both written and implied, and know that Rameau sounds very different from Bach. I suggest using this piece at an ARS chapter meeting to talk about ornamentation styles during the Baroque period. www.AmericanRecorder.org Winter 2017 27 American Recorder Society Publications Qui la dira was a popular melody also used in a by Adrian Musical Editions from the Members’ Library: Willaert (1490-1562, The Nether­ Additional hard copies may be ordered: ARS Members, $3; non-members, $5 (including U.S. postage). Please ask about discounts for multiple copies. ARS Members may also download at the ARS web site. lands): “Who will say it, the pain of my Algunos lugares 1 (A solo) Marcelo Milchberg Little Girl Skipping and Alouette et al heart / And the pain it carries for my Arioso and Jazzy Rondo (AB) Carolyn Peskin (SATBcB) Timothy R. Walsh Belmont Street Bergamasca (ATB) Sean Nolan Los Pastores (S/AAA/T + perc) beloved / I sustain only sadness and Berceuse–Fantaisie (SATB) Jean Boivert Virginia N. Ebinger, arr. languor / I would indeed rather be Blues Canzonetta (SATTB) Steve Marshall Lullaby (AATB) and Cake Walk (SATB) from Bruckner’s Ave Maria (SSATTBB) Suite for Recorder Quartet Hildegard Erle dead of it.” In Willaert’s madrigal for Jennifer W. Lehmann, arr. Mere Bagatelle IV (AAA/T) Anthony St. Pierre Canon for 4 Basses (BBBB) David P. Ruhl New Rounds on Old Rhymes (4 var.) Erich Katz five voices, two (tenor and counter- Dancers (AT) Richard Eastman Nostalgium (SATB) Jean Harrod tenor) answer in canon. Cabezón, who Danse de Village (SAB) Kevin Holland Nottasonata No. 1 (SATB) Daniel Thrower Danse from Primodal Episodes (SATB) Other Quips (ATBB) Stephan Chandler created a four-part setting, treats each John Winiarz Poinciana Rag (SATB) Laurie G. Alberts Different Quips (AATB) Stephan Chandler Santa Barbara Suite (SS/AA/T) Erich Katz motive very differently. It could be Elegy for Recorder Quartet (SATB) Sentimental Songs (SATB) David Goldstein, arr. interesting to perform both Willaert's Carolyn Peskin Serie for Two Alto Recorders (AA) Elizabethan Delights (SAA/TB) Frederic Palmer madrigal and this setting together, to Jennifer W. Lehmann, arr. Slow Dance with Doubles (2 x SATB) Faded Memories/Opus 88 (ATBB/SATB) Colin Sterne hear the similarities and contrasts. William Ruthenberg Sonata da Chiesa (SATB) Ann McKinley Fallen Leaves Fugal Fantasy (SATB) S-O-S (SATB) Anthony St. Pierre And now for something com- Dominic Bohbot 3 Balkan Line Dances (SATB) Emilie George, arr. pletely different: on the last page of Four Airs from “The Beggar’s Opera” (SATB) Three Bantam Ballads (TB) Ann McKinley Kearney Smith, arr. Three Cleveland Scenes (SAT) Carolyn Peskin each of the scores is a miniature, yet Gigue (SATB) Thomas Van Dahm Three Dutch Folktunes from Hollantse Boeren- Gloria in Excelsis (TTTB) Robert Cowper lieties en Contredansen (SAAT/AAAA/ATTB) still readable, bonus—Echoes by Arthur He Talks, She Talks (AT) Bruce Perkins Victor Eijkhout S. Sullivan (1842-1900), composer half Havana Rhubarb Rhumba (SATB up to Three in Five (AAB) Karl A. Stetson 7 players) Keith Terrett Tracings in the Snow in Central Park (SAT) of the famous “Gilbert and Sullivan” Idyll (ATB) Stan McDaniel Robert W. Butts Imitations (AA) Laurie G. Alberts Trios for Recorders (var.) operetta duo. This is an advertisement In Memory of Andrew (ATB) David Goldstein George T. Bachmann for Edition Walhall’s EW601 quartet In Memory of David Goldstein (SATB) Triptych (AAT/B) Peter A. Ramsey Will Ayton Two Bach Trios (SAB) William Long, arr. arrangement ($30) of Ten Part Songs. Jay’s Pyramid Scheme (SATB) Jay Kreuzer Two Brahms Lieder (SATB) Lay Your Shadow on the Sundials (TBgB) Thomas E. Van Dahm, arr. Terry Winter Owens Variations on “Drmeš” (SATB) Martha Bishop 3 ChoRALE Preludes and Leaves in the River (Autumn) (SATB) Vintage Burgundy (S/AS/ATT) Erik Pearson Jennifer W. Lehmann, arr. Chorales, by Johann LeClercq’s Air (SATB) Richard E. Wood Western Union (ATBgB) Peter Dixon Sebastian Bach, adapt. Woodland Whimsy (SATB) Gary Betts ZIP Code Boogie (SATB) Charlotte Van Ryswyk Bart Spanhove. ARS Information Booklets: Edition Moeck ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52 No. 3334 (www.moeck.com/en), 2014. Non-members: 1 booklet-$18, 2 booklets-$33, 3-$44, 4,$55, 5-$66, 6-$76, 7-$86 *Free online to ARS members SATTBBgBsB. Sc 11 pp, 9 pts 2 pp ea. Adding Percussion to Medieval and Improve Your Consort Skills Susan Carduelis Abt. $27. Renaissance Music Peggy Monroe Music for Mixed Ensembles *American Recorder Music Constance Primus Jennifer W. Lehmann The three chorales here are Burgundian Court & Its Music *Playing Music for the Dance Louise Austin Herzlich tut mich verlangen (I do Judith Whaley, coord. *Recorder Care Scott Paterson desire dearly, BWV727), Jesu, meine Education Publications Available Online and Free to Members Freude ( Jesus, my joy, BWV227), and The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). Guidebook to the ARS Personal Study Program (1996). Herr Christ, der ein’ge Gottes-Sohn ARS Music Lists. Graded list of solos, ensembles, and method books. (Lord Christ, the only Son of God, Videos Available Online to All BWV601). Each chorale prelude is fol- Recorder Power! Educational video from the ARS and recorder virtuoso John Tyson. An exciting lowed by the four-part Bach chorale resource about teaching recorder to young students. Pete Rose Video. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music doubled at SATB and TBgBsB. Festival recital. The video features Rose performing a variety of music and in an interview with ARS member professional John Tyson. The soprano has the chorale mel- ody in the preludes—though, in Herz­ Other Publications lich tut mich verlangen that melody, or Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering forming an ARS chapter. ARS members, $10; non-members, $20. cantus firmus, is ornamented. (The One free copy sent to each ARS chapter with 10 members or more. Consort Handbook. Available Online and Free to Members. soprano part is slightly ornamented Resource on consort topics such as group interaction, rehearsing, repertoire, performing. for Herr Christ, der ein’ge Gottes-Sohn.)

Shipping & Handling Fees: Under $10 - add $3; $10-19.99 - add $4; $20-29.99 - add $5; $30-39.99 - As it says on the front of each part, add $6; $40-49.99 - add $7. All prices are in U.S. dollars. For Canadian or foreign postage, pay by credit card each is meant to be legally copied to fit and actual postage is charged. Please make checks payable to ARS. VISA/MC/AMEX/Disc also accepted. your group’s needs. Also, the great bass See www.AmericanRecorder.org for complete publication offerings. ARS, P. O. Box 480054, Charlotte, NC 28269-5300 part comes in both treble and bass clef tollfree 1-844-509-1422 t 866-773-1538 fax t [email protected] to accommodate the skill set of your gB players. 28 Winter 2017 American Recorder ...short, straightforward, Bach-at-his-best pieces. These are short, straightforward, Bach-at-his-best pieces, expertly adapted by Bart Spanhove of the now-disbanding Flanders Recorder Quartet. They would be good for a beginning recorder orchestra or for a more advanced one looking to program Bach chorales. As always, the tricky part to performing these well is get- ting recorder players—of varying skill levels, all playing on a variety of instruments are few difficult rhythms, and chromat- made by a wide range of makers—to stay together and in tune. icism is minimal. The individual works In Bach’s day, a chorale prelude was played to introduce the hymn (chorale) do contain multiple time signatures that a Lutheran congregation was about to sing in a worship service. It could be that are open to interpretation. interesting to sing the included words on the SATB part of the chorale. The As one who plays extensively from lower recorders could accompany them after the recorder orchestra had played original Renaissance notation, in which the chorale prelude. meter changes are almost always rela- Valerie E. Hess is an organist, harpsichordist and recorder player. In addition to tional, I found the apparently random music, she also writes and teaches on issues related to spiritual formation. Visit her at changes here to be somewhat discon- www.valeriehess.com. certing. Lasocki explains the relation- ships in the Preface; they are essentially 49 PrelUDES, Fantaisies, and Caprices for Solo Alto just tempo changes and left mostly to Recorder: Collected by Charles Babel (ca. 1700), ed. David the performer to determine. Thus they Lasocki. Instant Harmony Music IH26 (http://music.instantharmony.net/ee27. can be utilized to add some variety. php), 2016. A. Fwd 20 pp, sc 44 pp. $10. As is typical of solo Baroque Charles Babel, a career musician who played , and possibly music, these pieces are characterized by recorder, was born in Normandy, France, around 1636. He was employed as a scale and arpeggiated passages. Knowl­ court musician in various locales and eventually relocated to England, becoming edge of Baroque performance practice a naturalized British citizen in 1699. He was also a professional copyist; though is necessary to bring them to life and there is some scholarly controversy over this, Lasocki concludes that 13 or 14 thus to avoid having them come across manuscripts in his hand have been identified. as technical exercises. In keeping with The selections included in this edition were copied by Babel from a manu- their improvisational character, there is script, titled M1091 by Christopher Hogwood, now housed in the British Library. considerable room for ornamentation, Except for several pieces by Lully, Paisible and Valoy, the composers remain to add interest and variety. Because the unknown. The manuscript was never published, even in the Baroque period. majority of them are quite short, play- The works are grouped according to key rather than genre, an ordering that ers can have a lot of fun experimenting. Lasocki has retained from Babel’s original. All are in flat keys, the majority being The pieces are arranged so that G minor, followed by D minor and F major. They are thus well suited to the alto there are no page turns. They are nicely recorder, but the lack of key variety also creates a bit of monotony. spaced, and thus easy to read. This collection was previously published online by Lasocki, and it is nice to Intermediate players will enjoy have it now in bound form. As always, his introductory material and references this introduction to Baroque music. For are great resource material. those who appreciate solo practice and The edition begins with an extensive Preface, in which the editor gives a his- performance, and for more advanced tory of the manuscript, a biography of Babel, and a comprehensive explanation of players who also enjoy the challenge of the musical forms and historical stylistic practices that would apply to each. It also ornamentation and improvisation, it is includes tables for each genre that specify the number and page in the manuscript, an edition to be recommended. the original time signatures, cadences and some editorial comments. Beverly R. Lomer, Ph.D., is an inde- It is important to the understanding of these works to know that fantasies, pendent scholar and recorder player whose caprices and certain preludes of the period all involved an element of improvisa- special interests include performance from tion. The prelude could be either a somewhat formal first movement in a longer original notations and early women’s work or an improvised introduction (in the same key) to a piece about to be music. She is currently collaborating on a played. As such—and as is also the case with the fantasy and the caprice— transcription of the Symphonia of Hilde­ the prelude would not be subject to the compositional rules or standardized gard of Bingen for the International format of a particular genre. Society of Hildegard von Bingen Studies. The pieces in this collection are all accessible to an intermediate player. She is the president of the Palm Beach They generally remain within the comfortable range of the alto recorder. There (FL) Recorder and Early Music Society and plays with several local ensembles. www.AmericanRecorder.org Winter 2017 29 Five selections by Fulvio Caldini, from Dame in Paris. Pérotin was one of a group of composers EDITION WALHALL (www.edition-walhall.de/en) comprising the Notre Dame School of polyphony, writing in style. Fulvio Caldini, born in 1959, is an Italian composer who was Caldini’s arrangement captures the mysterious and strongly influenced by Steve Reich, a pioneer in minimalist haunting sound of late Medieval music, but in modern music starting in the 1960s. While Caldini has written exten- notation, with a few of his own embellishments. You can sive compositions for winds including double reeds, he is also a hear ALSQ playing this piece at https://www.youtube.com/ pianist and player of other keyboards, as well as a musicologist. watch?v=Y99qrFku_Lk. He has taught at conservatories in Florence, Cosenza, Vibo It begins simply, with the lowest two parts starting a Valentia and Milan. His web site, www.fulviocaldini.net, drone and the second line playing the hymn tune and includes links to different groups performing his compositions. refrain. The two drone lines each hold a D for four mea- One common aspect for all five of these pieces is the compos- sures, with a measure of rest to breathe, but are staggered er’s use of varying time signatures throughout each piece. The so one part is always playing, creating a steady low sound. frequency of the changes varies among the pieces. My recorder At measure 60, about a third of the way into the piece, group established the quarter note as the tactus, the consistent the second line starts the hymn again. However, this time steady beat regardless of the time signature, which allowed us to the top line, which has been silent, joins in the drone. The count each measure with the needed number of quarter notes. third line, which had been on the drone, begins to play the Three out of five of the pieces reviewed here were composed hymn tune in canon, two quarter notes behind the second for a low recorder consort, including multiples of F basses, great line. This continues to the end of the hymn and refrain. bass and contra bass. For example, in Beata Viscera, the lines On the third time through the hymn, the fourth line is in order from the top are: added to make a three-part canon, two quarter notes after 1) Treble Clef described as “Basso in Do – sounds one the second canonic voice. The top line continues the octave lower” drone—now on E, occasionally dropping down to D. In 2) Treble Clef described as “Bassetto in Fa – sounds as written” measure 138, all four parts are moving lines for the next 3) Bass Clef described as “Basso in Fa – sounds as written” 12 measures, recreating a Medieval sound. 4) Bass Clef described as “Basso in Fa – sounds as written” The piece ends with two parts on E, one part on A, My group interpreted this to mean using a great bass, bass and and the second line that has been playing the tune slowly two contra basses. Some of the YouTube performances for this descending down to a low A. same piece use BgBgBcB, so some flexibility can be applied. This is a simply beautiful arrangement of an However, not owning one—much less two—contra basses, 800-year-old piece of liturgical music. Set on large we played it up an octave, on tenor, alto, bass, bass. instruments at low pitch, it recreates the mood of a Three of these pieces were included in the Fade Control monastic choir of the Middle Ages. album, released by Amsterdam Loeki Stardust Quartet (ALSQ) in 2007: Beata Viscera, Op. 74/B; Clockwork-Toccata, It could be used as an Op. 68/C; and Clockwork-Game, Op. 72/A. introduction to Caldini's style.

BEATA VISCERA, OP. 74/B (nach Perotin). TRE CORALI MARGINALIA, N.15. FEA198, 2016. FEA036, [2001], 2016. BBBB. Sc 6 pp, pts 2 pp ea. TBBgBcB. Sc 6 pp, pts 1 p ea. Abt. $11. Abt. $14. Tre Corali includes three short works, each only 20 to The text of Beata Viscera, “Blessed flesh of the Virgin 26 measures. The playing technique in this set is easiest of Mary,” was set to music by Pérotin around the turn of the the Caldini pieces reviewed here, though the set also uses 13th century. Pérotin’s setting of the tune is in the conduc- the frequent meter changes characteristic of the composer. tus style, built upon the consistent meter of the poem. It Appropriate for an intermediate or high intermediate was likely used in processionals at the Cathedral of Notre group, it could be used as an introduction to Caldini’s style, for those who are unsure of whether to try his other works. KEY: rec=recorder; S’o=sopranino; S=soprano; A=alto; T=tenor; In the first section, the top part plays a seven-measure B=bass; gB=great bass; cB=contra bass; Tr=treble; qrt=quartet; melody line, with the other parts providing harmonies, pf=piano; fwd= foreword; opt=optional; perc=percussion; pp=pages; sc=score; pt(s)=part(s); kbd=key­board; bc=basso continuo; hc=harp­ much like a choir. The melody is repeated, with slight vari- sichord; P&H=postage/handling. Multiple reviews by one reviewer ations ending with a chord; then in the last three measures are fol­lowed by that review­er’s name. Publi­ca­tions can be purchased a final chord is reached. from ARS Business Members,­ your local music store, or directly from some distributors. Please submit music and books for review to: 7770 The second section has a sweet sound, with the top S. High St., Centennial CO 80122 U.S., [email protected]. voice soaring up over the other parts that provide slow

30 Winter 2017 American Recorder shifting harmonies, ending in a long altos alternate playing steady eighth- The rhythms are complicated, held chord. That is followed by a four- note patterns—first a single measure, with frequent changes in time signa- measure bridge, then a four-measure then three measures, then six, and tures and shifting between playing on variation of the melody before reach- ending with three measures. and off the beat within each measure. ing the final chord. The piece returns to the simple It requires the skill of advanced play- The third composition follows a minimalist patterns; the measures for ers, such as professionals or conserva- similar structure, with the top voice each part look very similar up to the tory students. outlining a melody and repeating that final change into 3/2. The altos both The score and parts are hand- while the four lower recorders provide move into their upper octave, with the written; while they are clear, in this a rich harmonic frame. Yet this time composer’s note to crescendo, therefore case, the script is not as easy to read the composer includes many close, driving the piece until the end. as the usual typeset music. crunchy harmonies, such as the In the final measure, for the first final chord—from the bottom, time in the piece, all parts play the UN LUNGO ADDIO, OP. 145B. a Bb, G, Eb, F and Bb. same rhythm: an eighth note on the FEA166, 2016. ATBgBcB. Sc 11 pp, Caldini recommends a tempo of down beat followed by a surprising pts 2 pp ea. Abt. $15. = 50–60, depending upon the piece, silent gap equivalent to two quarter Un Lungo Addio, or A Long andh also includes dynamics. Both the notes. Then all parts join in three Goodbye, is a minimalist composition score and parts are handwritten, very descending eighth notes until the set for low recorders that creates a clear and easy to read, reproduced final half-note chord. meditative mood. While it may take on a heavy ivory paper. All of the parts have an impossi- some practice to become comfortable ble page turn from the first to second with its structure, playing it creates a CLOCKWORK-TOCcATA, page, requiring photocopying of the unique mood for both the players and OP. 68/C. FEA040, 2016. AATB. first page for use. There is a note in listeners—one member of our playing Sc 10 pp, pts 3 pp ea. Abt $15. the score that “the accuracy of the group described it as “transcendental.” Clockwork-Toccata, composed in rhythm must be perfect. For that Like the other Caldini pieces, 1999-2000, follows the minimalist reason you should use a midi-click Un Lungo Addio has regular changes principles of being austere—with a through a computer device and one in the time signature, such as 5/4, 2/4, minimal number of different pitches, headphone for each player.” 4/4, 7/4 and 3/4 every other measure exploring almost mechanical rhythms The challenge of this piece is or every few measures. The effect is to in the tenor and bass lines. Yet above reading the rhythmic changes while move outside of our usual expectations that, Caldini plays with the subtle keeping a constant beat among the of the strong and weak beats of a 4/4 shifts and interplay of the alto lines. players throughout. This piece would or a 3/4 measure, thus creating a more The piece begins in 3/2, with be appropriate for advanced players; linear flow of notes while evoking the the two altos echoing each other for however, upper intermediate players meditative feel. 14 measures. Then the tenor and bass who are willing to take the time and The contra bass provides the enter with eighth notes on the down- master the rhythms should be able to ground with many long notes tied beat, soon settling into their mostly perform it as well. The two alto play- together; Caldini recommends the repetitive rhythms and notes. ers in our ensemble found it more fun player use , if possi- The first alto line stretches up to play than the tenor and bass, whose ble, to keep the sound steady. The top above the ensemble to a high D, parts are much more repetitive. four lines move together, each having with all parts repeating very similar Clockwork-Toccata performed by its own line while fitting into the rhythms and notes until a shift into ALSQ can be heard at https://www. larger flow. 4/4 in measure 44, back to 3/2 in youtube.com/watch?v=SIjIfvJGvp8. In the beginning are five mea- measure 45, back again into 4/4 in sures of an opening conversation, measure 46, then into 5/4 in measure CLOCKWORK-GAME, OP. 72/A. then each of the four top parts begins 51. It stays in 5/4 until the last 10 FEA048, 2016. S(A)ATB. Sc 31 pp, an individual first musical line of measures, when it shifts back to 3/2. pts 8 pp ea. Abt $24. about four measures. Those lines are The changing time signatures Clockwork-Game was commis- repeated three more times, with varia- creates a subtle shift in how the sioned by and dedicated to ALSQ. tions created by the shifting lengths downbeat­ is felt. The first 15 measures Like the Clockwork-Toccata, it is a of measures, before finishing the first of 5/4 explore how that meter change minimalist piece, but significantly section with a chord. Then begins affects the momentum, then the two longer and more difficult. a second musical line, about seven

www.AmericanRecorder.org Winter 2017 31 STATEMENT OF OWNERSHIP, MANAGEMENT measures long, and 12 variations AND CIRCULATION American Recorder magazine. are explored before the lines stretch Publication 0003-0724. 10/1/2016. Quarterly. 4 issues. $38 per year. Association and Publisher address: Susan out and slow down to the penulti- Burns, American Recorder Society, 3205 Halcott Ln, Charlotte, NC 28269-9709; 704-509-1422; Editor: Gail mate whole note, a break, and the Nickless, 7770 S High St, Centennial, CO 80122; Owner: final chord in another whole note. American Recorder Society, PO Box 480054, Charlotte NC 28269-5300. No bond holders, mortgagees, or other The composer suggests a tempo security holders. Purpose, function, and nonprofit status of = 124, which the group agreed of American Recorder Society has not changed during q preceding 12 months. Circulation Fall 2017: (Average was good. He includes dynamics number of copies each issue during preceding 12 months/Actual number of copies of single issue published nearest to filing date): for some parts, but the score notes (a) Net press run (2128/2175); (b) Paid Circulatio­ n (By that “dynamics are only suggested Mail and Outside the Mail): Outside county mail subscriptions (1791/1776) (2) In-county mail by the composer but may be subscriptions (0/0) (3) Sales through dealers, carriers, street vendors, counter sales and other non-USPS (0/0) changed.” (4) Other classes mailed through USPS (117/118); (c) This is handwritten music, both Total paid distribution (1908/1894); (d) Free or nominal rate distribution by mail (samples, complimentary and score and parts. It is very clear and other free: (1) Outside-county USPS rate (0/0) (2) easy to read, and printed on a heavy In-county USPS rate (0/0) (3) Other classes mailed through USPS (73/42) (4) Free distribution outside the ivory paper. mail (51/50); (e) Total free or nominal rate distribution (124/92); (f ) Total distribution (2032/1986); (g) Copies The challenge for this piece is not distributed (96/189); (h) Total (2128/2175); (j) in keeping a constant sense of the Percent paid and/or requested circulation (93.9%/95.4%). Electronic Copy Circulation: (a) Paid electronic copies quarter-note tactus and not focusing (140/140); (b) Total paid print copies+ Paid electronic copies (2048/2034); (c) Total print distribution + Paid on the varying time signatures. For electronic copies (2172/2126); (d) Percent paid (both print that reason, an intermediate group & electronic copies) (94.3%/95.7%) I certify that 50% of all distributed copies (electronic and print) are paid above would need a director to keep the a nominal price. Susan Burns, Business Manager group together, but a high interme- Consider advertising in diate group could play it without a director. Bruce Calvin started playing Classified rate for American Recorder: 60¢ per recorder in college some unspecified For current rates and specifications, see number of years ago, and has reviewed http://americanrecorder.org/advertise_ word, 10-word minimum. “FOR SALE” and with_ars.php. Please inquire about discounts “WANTED” may be included in the copy videos and books for professional library on multiple-issue contracts or other special without counting. Zip code is one word; publications over the years. He and four requests. Advertising subject to acceptance phone, e-mail or web page is two. Payment by magazine. Reservation Deadlines: must accompany copy. Deadlines are others meet weekly in the Washingt­ on, January 1 (Spring), April 1 (Summer), one month before issue date. Send copy D.C., area to play recorders. The group July 1 (Fall), October 1 (Winter). with payment to: ARS, P. O. Box 480054, Charlotte, NC 28269-5300. enjoys Renaissance through contempo- For more information, contact the ARS office,P. O. Box 480054, Charlotte, NC rary music, performing occasionally 28269-5300; 704-509-1422; tollfree Advertiser Index for special church events. 1-844-509-1422; 866-773-1538 fax; [email protected] AMERICAN ORFF-SCHULWERK ASSN...... 21 AMERICAN RECORDER SOCIETY . . . .1, 12, 27, 28, 32 AMHERST EARLY MUSIC FESTIVAL...... 20 American Recorder (ISSN 0003-0724) is published 4 times a year, February (Spring), May (Summer), August (Fall), November (Winter), by American Recorder Society, Inc., 3205 Halcott JEAN-LUC BOUDREAU, RECORDER MAKER. . . . . 13 Ln, Charlotte, NC 28269-9709. Periodicals Postage Paid at Charlotte, NC, and additional mailing CANZONET...... 10 offices. POSTMASTER: Send address changes to American Recorder, PO Box 480054, Charlotte, NC EARLY MUSIC AMERICA...... 7 28269-5300. $38 of the annual $50 U.S. membership dues in the ARS is for a subscription to EDITION WALHALL...... 14 American Recorder. HONEYSUCKLE MUSIC ...... 15 Editorial Deadlines: December 15 (Spring), March 15 (Summer), June 15 (Fall), and LISETTE KIELSON RECORDER PLAYER...... 6 September 15 (Winter). Submission of articles and photographs is welcomed. Articles may be sent BILL LAZAR’S EARLY MUSIC...... 19 as an attachment (.doc or .rtf preferred) or text in an e-mail message. They should be for the exclusive LOST IN TIME PRESS...... 13 consideration of AR, unless otherwise noted. Articles, reviews and letters to the editor reflect the MAGNAMUSIC ...... 3 viewpoint of their individual authors. Their appearance in this magazine does not imply official endorsement by the ARS. The ARS reserves the right to publish any submitted magazine content on MOECK VERLAG...... IFC the ARS web site. By submitting material to be published in a printed issue of AR, American Recorder’s MOLLENHAUER RECORDERS...... OBC editors and authors grant the America Recorder Society permission to use their material in this addi- PRESCOTT WORKSHOP...... 9 tional manner. Photos may be sent as prints, or unedited JPG or 300dpi TIF files (minimum 3”x4”). THE RECORDER SHOP...... 29 Advertisements may be sent in PDF or TIF format, with fonts embedded. JAMES SCOTT RECORDER STANDS...... 11 Editorial office: Gail Nickless, Editor, [email protected], 7770 South High St., SELDOM SENE...... 9 Centennial, CO 80122-3122. Books and Music for review: Editorial office. Recordings for review: VERY GOOD RECORDER TRANSCR...... 5, 32 Tom Bickley, 1811 Stuart St., Berkeley, CA 94703. Cutting Edge: Editorial office. Chapter newsletters, VON HUENE WORKSHOP, INC...... 15 other reports: Editorial office, Publisher's office. YAMAHA CORP...... IBC

32 Winter 2017 American Recorder