Bergen County Chapter American Recorder Society February 2017

Chapter News Next Meeting: For our February meeting we Quartet, Gotham City Ba- Date Coach Wednesday welcome back Deborah roque Orchestra, Long Island February 8, 2017 Booth as our guest conduc- Baroque Ensemble, Baccha- 3/8/17 Pat Neely At 8:00PM tor. nalia Baroque Ensemble, and April No meeting Ivory Consort. Deborah Booth is a flute and Meetings are held at: recorder performer of histori- Preparations for our April 4/29/17 Workshop Congregation Adas Emuno cal and modern instruments workshop are well underway. 5/17/17 Susan Hellauer 254 Broad Avenue and the co-founder and direc- The flyer/application is in- 6/14/17 June Consort Leonia, NJ 07605 tor of Ensemble BREVE. cluded with this newsletter. night. Performances include the Our workshop is listed ot the Handel & Haydn Society, the ARS website calendar and on There is a $10.00 suggested Orchestra of St. Luke’s, Bos- our chapter’s website. donation for non-members. ton Festival, We’ve also emailed our in- workshop attendees. Please Amherst Early Music, Trin- formation to nearby chapters. help us spread the word by For Information contact: ity Bach Vespers (NYC), Big By the end of this month we sharing the flyer with your Reita Powell, President Apple Baroque, recorder will do the general mailing to friends. 201-944-2027 soloist with the Ciompi ARS members and past [email protected]

Carl Peter, Editor 201-837-1071 [email protected]

Composer of the Month Antoine Brumel his own time is suggested by many appearances of his (c.1460 - after 1520) the fact that he was only the music in MSS. His Missa Et Guest third composer to have a ecce terraemotus is a remark- Antoine Brumel was a volume of Masses published able piece for twelve voices. Conductor Franco-Flemish composer. Many of his use bor- He held church posts in rowed cantus firmi, maybe (1483 through with a different text, and are Deborah 1486), Laon, Paris (where he in a flowing, rhythmically was master of the boys at intricate style, but his Sicut Booth Notre Dame 1498 through liliumhas an attractive sim- 1500) and Lyons before be- plicity suggestive of Italian coming maestro di cappellato influence. Alfonso I d'Este at in www.hoasm.org 1506-9. His output includes twelve Masses, twenty-nine motets, three Magnificats and several . His by Petrucci (after Josquin considerable prominence in and Obrecht), and by the February 2017 Bergen County Chapter Page 2 American Recorder Society

The Flute The renaissance flute, the different design, perhaps somewhat below modern type of instrument used in more fife-like. pitch). The middle size, the Europe from roughly 1500 to tenor in d', was the most Renaissance flutes were 1650 and later, was designed common size, judging from made in several sizes. Three to blend well; it was often depictions. But many of the sizes of instruments (that we played with other flutes in a surviving instruments from can call descant, tenor, and consort, or perhaps with the 16th century are basses. bass flutes) are described in voices or other soft instru- And no true descants sur- several 16th century trea- ments. Yet it can be seen in vive, indicating that they tises, though only the two medium sized and large en- were less common (or per- lower sizes are mentioned by sembles, where it presuma- haps more easily lost or bro- Philibert Jambe de Fer bly played in its high range. ken). Shown below is a mod- (1556). These differed in It also had military uses, ern consort of renaissance pitch by a fifth. The lowest though it is quite likely that flutes (a bass, three tenors, notes of the descant, tenor, the instruments so used may and a descant). and bass are, respectively, a', have been of a somewhat d', and g (though at a pitch http://www.oldflutes.com

Musical Terms Broken consort: When Espressivo: Close eyes and Mean-Tone Temperament: Transposition: An advanced somebody in the ensemble play with a wide vibrato One's state of mind when recorder technique where has to leave and go to the everybody's trying to tune at you change from alto to so- Glissando: The musical restroom the same time prano fingering (or vice- equivalent of slipping on a versa) in the middle of a Compound Meter: A place banana peel. Also, a tech- Musica ficta: When you lose piece to park your car that requires nique adopted by string play- your place and have to bluff two dimes ers for difficult runs till you find it again. Also Vibrato: Used by singers to known as 'faking' hide the fact that they are on Cut time: When you're go- Hemiola: A hereditary blood the wrong pitch ing twice as fast as every- disease caused by chromatics Rackett: Capped reeds class body else in the ensemble

Music in the Renaissance With the beginning of the owned exclusively by reli- took up the , as well as opposed to the improvised sixteenth century, European gious establishments or ex- the , the recorder, the music played by professional music saw a number of mo- tremely wealthy courts and (in various instrumentalists). The six- mentous changes. In 1501, a households. After Petrucci, guises, including the spinet teenth century saw the devel- Venetian printer named Otta- while these books were not and virginal), the organ, and opment of instrumental mu- viano Petrucci published the inexpensive, it became possi- other instruments. The viola sic such as the canzona, first significant collection of ble for far greater numbers of da gamba and recorder were ricercare, fantasia, variations, polyphonic music, the Har- people to own them and to played together in consorts and contrapuntal dance- monice Musices Odhecaton learn to read music. or ensembles, and to facili- inspired compositions, for A. Petrucci’s success led tate this often were produced both soloists and ensembles, At about the same period, eventually to music printing in families or sets, with dif- as a truly distinct and inde- musical instrument technol- in France, Germany, Eng- ferent sizes playing the dif- pendent genre with its own ogy led to the development land, and elsewhere. Prior to ferent lines. Publications by idioms separate from vocal of the viola da gamba , a 1501, all music had to be Petrucci and others supplied forms and practical dance fretted, bowed string instru- copied by hand or learned by these players for the first accompaniment. ment. Amateur European ear; music books were time with notated music (as musicians of means eagerly http://www.metmuseum.org